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THE J. PAUL GETTY MUSEUM LIBRARY 


BRYANS DICTIONARY 


OF 


PAINTERS AND ENGRAVERS 


IN FIVE VOLUMES 


CAMBRIDGE: DEIGHTON, BELL é 
NEW YORK: THE MACMILLAN 


GEORGE BELL AND SONS _ 
LONDON : YORK ST. COVENT G 


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BOMBAY: A. H, WHEELER & 


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a oven the practi gy MN Coreg quo 


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BRYANS DICTIONARY 


OF 


PAINTERS AND ENGRAVERS 


NEW EDITION REVISED AND ENLARGED 


UNDER THE SUPERVISION OF 


GEORGE C. WILLIAMSON, Litt. D. 


WITH NUMEROUS ILLUSTRATIONS 


VOLUME |i. A-—C 


Mew Bork 
THE MACMILLAN COMPANY 
LONDON: GEORGE BELL AND SONS 
FeO. 3 
All rights reserve a 


~~ JHE J. PAUL GerTy museum 
LIBRARY 


PREFACE 


_ THE first editon of “ Bryan’s Biographical and Critical Dictionary of Painters and 

Engravers” was published in 1816, and since that time it has held its place without a 
rival as the most complete and trustworthy authority on the facts and lives of the 
painters and engravers with whom it deals. In 1849 it was revised by Mr. J. Stanley, 
- and subsequently in 1876 a Supplement was prepared by Mr. H. Ottley. Between 
that time and 1884 not only had it become necessary to add a very considerable number 
of names, but the whole range of artistic knowledge and criticism had undergone most 
important and far-reaching changes owing to the researches of Messrs. Crowe and 
Cavalcaselle, Milanesi, Morelli, Bertolotti and others on the lives and works of the 
Italian painters; to those of Kramm, Michiels, Fétis, Havard, Hymans, Van den 
Branden, Weale, and Siret on the Dutch and Flemish painters; to those of Passavant, 
Waagen, Forster, Meyer, Bode, Woltmann, Schlie, Riegel, and Von Reber on the 
painters of Germany and other lands; and to those of the late Sir William Stirling 
Maxwell and Sefior Madrazo on the art and artists of Spain. The edition issued in 
Parts from 1884-9 under the editorship of Mr. R. E. Graves and Sir Walter Arm- 
strong was consequently to a great extent a new work, and extended to almost double 
the size of its predecessor; a considerable number of engravers especially having been 
added. 

During the fourteen years which have intervened many more names have un- 
fortunately become eligible for inclusion, and further researches have brought to light 
new facts, while fresh attributions and the transposition of numerous pictures have 
made much alteration necessary. In this volume, the first of five of which the new 
edition will consist, will thus be found seventy-two new biographies specified below, 
whilst upwards of six hundred corrections and alterations necessitated by the march 
of time have been introduced into the other lives. 

The most notable of the new articles are those on Jacopo, Gentile and Giovanni 
Bellini, contributed by Mr. Roger E. Fry ; Giotto (Bondone) by Mr. F. Mason Perkins, 
his latest biographer; two important contributions on Altdorfer and Blake by Mr. 
Oldmeadow; Burne-Jones, Vicat Cole, Sidney Cooper, Sir F. Burton by Mr. Malcolm 
Bell; Mark Antony and Ansdell by Mr. Dibdin, the chief authority on the Liverpool 
School; Dirk Bouts by Mr. Weale; Arnold Bocklin by Mr. G. Ravenscroft Dennis; 
Bellin by Mr. Elliot Stock; David Cox by Mr. Arthur B. Chamberlain of the Birming- 
ham Art Gallery; Bonheur, Ford Madox Brown, Cosway, Constant, Calderon, Beardsley 


7) 
Ths 


ke mitage, A 
Jahon Arbo, Miner Alvarez, uencim Ce Bee Barbe Bu 
Brown, Barwell, Beavis, Beard, Bonington, Bashkirtseff, Bierstadt, Bosboom, Brierl 

Benouville, Browne, Ballantyne, Bellermann, Boyce, Bryan, ‘Brandara, , B Brownlie, 
Binet, Bles, Boudin, Baudry, Brett, Blanchard, Bloch, Brozik, Collier, Casado, Costa 
Cattermole, Cousen, Cope, Cabat, Chaplin, Calthrop, Cosway, Cazin, oo ur Oe 


British rae Sodoma (Bazi) “ae Becca! by Mr. R. H. ‘Hobaat C ti, al 
“the Bayonet Masters of Siena.” Dealing as a work of this sort does, : 
rather than with criticism, the labours of preceding writers. must necessaril 
with a frequency which makes special reference in every case impossible 
Editor trusts that he will not be found to have placed himself under any ° 
that he may not here frankly and gratefully acknowledge. Succeeding volum 3 

work will be augmented and improved in a similar manner, am 


June 1903. 


oa 


tion ; aries owing to the arbitrary 1 mode in which it has been customary to deal with such 
| names | as are preceded by an article or a preposition, or by both, it has been thought 
ple i in this work to adopt the grammatical principle sanctioned by the Belgian 
em: ; in regard to the names of Flemish and French (or Walloon) origin, which 


age ny 


Ci oh lude do in the yer ereree: peeceale.” 


from assumed t names and sobriquets whenever needed. 


‘Thus, Correggio is entered under Allegri, Antonio. 


— Pinturicchi. ne Biagio, Bernardino. 
| Sebastiano del Piombo - Luciani, Sebastiano. 
| Lintoretto. ae Robusti, Jacopo. 
Titian 3 Pe Vecelli, Tiziano. 


7. vLbus, Charles Le Brun | is entered under Le Brun. 


Jan David De Heem rs De Heem. 
Jean Frangois de Troy pf Troy. 
Heinrich Maria von Hess Fs Hess. 
Isaac van Ostade f Ostade. 


_ (6) When the prefix is an article joined to or preceded by a preposition, as in the French 
du, de la, and des, the Italian del, della, degli, dai, dagli, and dalle, the Spanish del and de 
la, and the Dutch van der, van de, van den, and ver (a contraction for van der), it cannot be 
disunited from the proper name, because the particles together Lee the genitive case of 
the article. — 


i Thus, Alphonse du Fresnoy is entered under Du Fresnoy. 

; Laurent de La Hire : De La Hire. 

eo Niccolo dell? Abbate Dell? Abbate. 
| 3 Girolamo dai Libri . Dai Libri. 


a Willem van de Velde Ht Van de Velde. 


viii NOTICE. 


(c) English artists bearing foreign names are placed under the prefix, whether it be an 
article or a preposition. 
Thus, Peter De Wint is entered under De Wint. 


(d) Proper names with the prefix Sé. are placed as though the word Saint were written 


in full: and similarly, /‘ and Mc are arranged as Mac. 
(ec) Foreign compound names are arranged under the first name. 


Thus, Baptiste Aubry-Lecomte is entered under Aubry-Lecomte. 
Juan Cano de Arevalo a Cano de Arevalo. 


II. An artist having no surname is placed under the name of the place from which he 
is known, or failing that, under his own Christian name. 


Thus, Andrea da Bologna is entered under Bologna. 
Andrea del Sarto % Andrea. 
Fra Bariolommeo 7 Bartolommeo. 


III. Anonymous artists known as the Master of the Crab, the Master of the Die, the 


Master of the Rat-Trap, will be found under the common title of Master. 
R. E. G. 


CONTRIBUTORS OF INITIALED ARTICLES. 


W. A. Sir Walter Armstrong. 
M. B. Malcolm Bell. 

A. B.C. Arthur B. Chamberlain. 
lr: R. H. Hobart Cust. 

G. R. D. G. R. Dennis. 

E. R. D. E. R. Dibdin. 

Os: O. J. Dullea. 

R. 'E. F. Roger E. Fry. 

R. E. G. Robert Edmund Graves, 
OE, Mary M. Heaton. 

C. H. Charles Holroyd. 

E. J. O. E. J. Oldmeadow. 

F. M. P. F. M. Perkins. 

PoP: Percy Pinkerton. 

C. R. Corrado Ricci. 

J.P. R. J. P. Richter. 

W. B.S. William Bell Scott. 

FE: 8: Florence Simmonds. 
H.C. S. H. Clifford Smith. 

E. 8S. Bey Elliot Stock. 

We HSE We... W. H. James Weale. 
G. C. W. 


George C. Williamson. 


: . Dresden 
tee Parma Cathedral 
Convent of S. Paolo, Parma 


pen : Ascoli 
Uffizi Gallery, Florence 
i “ 4 Mi Vienna 
led ANDREA DEL SARTO © = 


i Pate Pes ‘ ‘ : ; Pitti Palace, Florence 
: a : Sine « ; National Gallery 


‘ : ; ‘ ; ; National Gallery 


re ee ee Sei : : Tate Gallery 
. , : : . Uffizi Gallery, Florence 
FRANCESCO BARBIERI, called GUERCINO 
A SAAT ipa ed ie f ete : . Forli 
DERIGO BAROCCIO | | 
B APPEARANCE oF CHRIST TO ALAR MAGDALENE Corsini Gallery, Rome 
ARTOLOMMEO DI PAGHOLO, called FRA BARTOLOMMEO | 
HE ‘VirGIn AND CHILD ENTHRONED WITH SAINTS . : : : . Lucca 
Porrrarr OF SAVONAROLA i E She es , i ‘ . Florence 
‘BARTOLOZZI | 
_ MILDNEss. ; : Lies oR Ae UA a E gr. ; : 
Met: Venus (LUTE 9 te SS ra a Sipe 3 
POMPEO BATTONI : y 
Meeeeee Orr PAMILY . 8. 26. lCUyllCwtCtstt«wtCté«<S:«C rev Gallery, Milan 
Mary MAGDALENE . ; : ; ; ; eC. by LareR en 
" GIOVANNI ANTONIO BAZZI, called SODOMA 
Meer VICTOR 6c, tC sttt.ti‘(®sStSCP thre xo Puubdlico, Siena 


~ DOMENICO BECCAFUMI 
- Tue Srory oF MosEs AND THE TABLES OF THE Law . The Pavement, Siena 


Hh 


Frontispiece 
To face p. 22 


” 


tp) 


+) 


” 


” 


” 


24 
15 
26 

32 


36 
36 


44 
52 
74 


82 


104 


p i 
et i 


pein 


t+ 


pe ae RE eee est 
_ SIR W. BEECHEY | eek age. y hae igo see 
Tue BROTHER AND SISTER « - + Boni Sinan sete 
GENTILE BELLINI ee, 
Tue Mriracie oF THE Hoty Cross (Photogravure Plate) . 
GIOVANNI BELLINI 2 Sa 
THE. TRANSFIGUBATION ic. (C26. 74) 5! se) auf hy tree en Ye et 
THOMAS BEWICK © 30; ie Net 
THE CHILLINGHAM Butt, 1789. .- 0. >. ( . 4 
BERNARDINO DI BIAGIO, called PINTURICCHIO ee ee 
JENEAS PICCOLOMINI ON HIS WAY TO THE CounciL AT bite 3s . Library, Siena 


FRANCESCO BIANCHI re 
THE MADONNA AND CHILD wITH St. BENEDICT AND Sr. QUENTIN. Lowre 


DOMENICO BIGORDI, called GHIRLANDAIO a: 
St. JEROME IN HIS STUDY ; ; . Church of the Ognissanti, Florence — 
THE ADORATION OF THE MacI . + Hospital of the Innocenti, Florence 


ARNOLD BOECKLIN | | 
THE ISLAND OF THE DEAD. ne SR Pies se, - —« Leipzig Museum 


GIOTTO DI BONDONE, called GIOTTO , ; 24 
_ Tse Finan JUDGMENT. “ ‘ Se ‘ . Arena Chapel, Padua 
THe Funerat or St. FRANCIS. sie le tetas ; . Sta Croce, Florence 
ROSA BONHEUR : en ee 
THE Horsk Farr. : ; : : : : : National Gallery 
BONIFAZIO VERONESE | : 
MOosESs BROUGHT TO THE DAUGHTER OF Peay eoH : . Brera Gallery, Milan 
THE ADORATION OF THE MaGI : ; : . - Accademia, Venice 
R. P. BONINGTON : 
A Coast ScenE (Photogravure Plate) . : : : . Hertford House 
THE OLD GOVERNESS ; : : : ; 
FRANCESCO BONSIGNORI 
DETAILS OF A POLYTYCH. : : ‘ . San Giovanni e Paolo, Venice 


ALESSANDRO BONVICINO, called MORETTO 


oa 


; t 


410 


Accademia, Venice 


: : Louvre 


PorTRAIT OF AN IraLtan NoBLEMAN : : ; é National Gallery -— ,, 

ST. BERNARDINO OF SIENA WITH OTHER SAINTS . ; National Gallery a 7Oise 
PARIS BORDONE ieee 

THE FISHERMEN BRINGING THE RING TO THE DoGEe GRADENIGO Accademia,Venice  ,, 170 i ys 

PoRTRAIT OF A Lapy : ; ‘ : : : National Gallery arte i 
FRANCOIS BOUCHER ; mM 

MADAME DE PompapourR (Photograwure Plate) . ‘ South Kensington __,, \ age ‘a 


THIERRY BOUTS , ow ee 
' §t. CHRISTOPHER . ; : . Munich . 184. oom 


JOHN BRETT 
Tux Stone-BreakeR . . . . Collection of James Barrow, Hs.  » 194 

FORD MADOX BROWN ee 
CoRDELIA (Photogravure Plate) : ; F : ; ; ; ; ; | sg 200 i im 
CaRist WASHING StcPerge's Feet. © 95) > fc epee Gallery 4, 20217) 
CHAUCER AT THE Court or Epwarp III. : : : . Sydney Gallery Peps 202 ! 

BUONARROTI, called MICHELANGELO : ; he 
THE CREATION oF MAN . ; ‘ F : : . Sistine Chapel, Rome Bah 210 ; 
THE THREE Fates . ‘ : . Pitti Palace, Florence —_—, 292%: : 


THE MApDoNNA AND INFANT Cunisr, ‘St. Jou. AND ANGELS National Gallery a epee : 


° . 


THe ‘Dean ov Ore Uncatin, eas. 
¥ | Unsuba AND THE POPE. = 


LODC VICr CARRACOL sical alee 


; a “Grovanst Boccaccto 5 tg S oh aan 
ay DE CHAMPAIGNE — 


hes 
as od | THREE PorTRAITS or. CARDINAL RICHELIEU 


- 


; 7 COLLINS 
oh Convent THoucnt . Sp greene at eee ‘ 
WILLIAM COLLINS 

s Happy aS A KING . : ; 


St. PererR MARTYR AND TWO SAINTS 
THE VIRGIN AND CHILD WITH SAINTS 
Tuer MADONNA AND CHILD 


-—s« JOHN. CONSTABLE 

_ -_-- Satispury CATHEDRAL (Photogravure Plate) . 
q — ‘Tue Vauey Farm . Cat a 

. 3 MEMANWAIN 0 we 

a BENJAMIN CONSTANT 

| ae Her Masesty QUEEN ALEXANDRA... tit 


T, SIDNEY COOPER 
CATTLE PIECE. ot A mn m : 5 


J. S. COPLEY 
Tuer SIEGE OF GIBRALTAR : : 2! 


- GIOVANNI BATTISTA DA CONEGLIANO, called CIMA 


Tate Gallery 


National Gallery 
5 National Gallery 


. Accademia, Venice 


Accademia, Venice 


Ufizi Gallery, Florence 
Vatican, Rome 


: . Bologna Gallery 
Louvre 
. Sant’ Apollonia, Florence 


National Gallery 


Sta Maria Novella, Florence 


. Brera Gallery, Milan 
Oxford 
‘ Tate Gallery 


Brera, Milan 
Parma Gallery 
. Bologna Gallery 


South Kensington 
National Gallery 


* ; National Gallery 


. Cambridge 


National Gallery 


Tate Gallery — 


Louvre - 


” 


To face p. 216 


918 


228 


230 


249 


242 


254 
254 


256 
256 


258 


260 


266 


282 


294 


296 


298 


314 


316 


318 
318 
318 


320 
322 
322 


322 


326 


326 


xil LIST OF ILLUSTRATIONS, 


J. B. C. COROT 

LANDSCAPE . : ‘ 4 : ‘ : . : . 
FRANCESCO COSSA 

Sr, Vicenrius FERRER (DOMINICAN) . : : : National Gallery 

THE MADONNA AND CHILD WITH ANGELS : : : . Bologna Gallery 
LORENZO COSTA 

THE MADONNA AND CHILD WITH THE BENTIVOGLIO FAMILY . . Bologna 
JOHN SELL COTMAN 

A GALIOT INA GALE. “ Sina Se : . : National Gallery 
LUCAS CRANACH 

THE AGONY IN THE GARDEN . saint: ' =! Pac gl Polen eae . Dresden 
LORENZO DI CREDI 

THE MADONNA AND St, JOHN . Aero . . Offiz Gallery, Florence 
THOMAS CRESWICK 

THE PATHWAY TO THE VILLAGE CHURCH. , ; : : Tate Gallery 


CARLO CRIVELLI 
MADONNA AND SAINTS, THE INFANT CHRIST GIVING THE Keys To St. PETER Berlin 


THE ANNUNCIATION, 1486 : ; : : ; : National Gallery 
VITTORIO CRIVELLI 
MADONNA AND CHILD. : : ; 3 : ; . Torre de Palme 


ADELBERT CUYP 
RIVER SCENE WITH CaTTLE (Photogravure Plate) . ; National Gallery 


” 


9? 


Louvre To face p. 332 


336 
336 


336 


338 


348 


copy the works of Barthel Spranger. 


A 


BIOGRAPHICAL DICTIONARY 


OF 


PAINTERS AND ENGRAVERS. 


AA, Van DER. See VAN DER AA. 
AACHEN, JoHANN von (or AAcH), who was 
born in Cologne in 1552, takes his name from 


_ the town of Aachen (Aix-la-Chapelle), the birth- 
place of his father. 


His early-displayed talent 
for art induced his parents to comply with his 
wish to become a painter, and he was placed 
under the tuition of a respectable portrait painter, 
named Jerrigh. After passing six years under 
this master, he applied himself to study and 
About the 
year 1584 he visited Italy, and first stopped at 


_ Venice, where he passed some time among the 


great works of art in that distinguished school of 
colouring. He studied especially the style of 
Tintoretto, with much success. He afterwards 
went to Rome, where his first painting was an 
altar-piece, representing the ‘ Nativity,’ for one 
of the chapels of the Jesuits’ church. He also 
painted a picture which gained him great reputa- 
tion, and has been considered as one of his best 
productions; in it he represented the portrait 
of the celebrated musician, ‘Madonna Venusta 
playing on a Lute,’ and introduced himself hold- 
ing a goblet of wine. From Rome he went to 
Florence, where he painted the portrait of the 
famous poetess ‘Madonna Laura.’ In 1588, the 
Elector of Bavaria invited him to Munich, where 
he produced his most excellent work the ‘ Resur- 
rection of our Saviour,’ which has been engraved 
by Raphael Sadeler; and the ‘Finding of the 
True Cross by Helena, mother of Constantine.’ 
He painted the portraits of the electoral family, 
and was liberally rewarded by his employer, who 
also presented him with a gold chain and medal. 
By the invitation of the Emperor Rudolph II., he 
visited Prague, where the court was then held, and 
was favoured with the particular patronage of that 
monarch. His first work was a picture of ‘ Venus 
and Adonis,’ which he designed with a taste and 
elegance then little known in Germany. This 
performance was so much admired by the emperor 


that he retained him in his service for the remain- 


B 


der of his life. Von Aachen died in 1615 in Prague. 
It is but justice to this painter to allow him the 
credit of being one of the first that attempted to 
reform the stiff and Gothic taste of his country, 
and although he did not entirely divest himself of 
it, it may be asserted that his design, always cor- 
rect, approaches sometimes to grace and beauty. 
His ‘ Bathsheba Bathing,’ in the Vienna Gallery, is 
one of his best works. The dates of his birth and 
death, above given, are taken from the inscription 
on the monument, erected at Prague to his memory 
by his widow, which was discovered in 1790. 
Other authorities give 1562 as the date of his 
birth. 

AALST, Van. See AELST. 

AARTJEN van LEIDEN See Ciazssoon. 

AARTSEN, PIETER (or AERT- 
SEN, or ARIJAENSZ, in which form AY PR ; 
it occurs‘in the record of his death Z 
in the ‘Oude Kerk’ at Amsterdam). This painter, 
called from his great height ‘Lange Peer,’ was 
the son of a stocking manufacturer, and born at 
Amsterdam in 1507. Having shown an early 
inclination for art, he was placed under Allart 
Claessen, with whom he did not, however, remain 
longer than was necessary to learn the first rudi- 
ments, and in 1535 he joined the Antwerp Guild. 
Before long he had produced several pictures of 
the interiors of kitchens with culinary utensils, 
painted with great spirit, and wellcoloured. These 
performances were much admired, and it is some- 
what remarkable, that although he was so success- 
fulin his attempts in that style, he abandoned these 
subjects, and applied himself to the more elevated 
walk of sacred historical painting, in which he 
acquired no little celebrity. One of his most 
esteemed works was the altar-piece he painted for 
the church of Our Lady at Amsterdam. The 
principal picture represented the ‘Death of the 
Virgin Mary,’ and on the two folding doors he 
painted the ‘Nativity,’ and the ‘ Adoration of the 
Magi.’ These subjects were ingeniously composed 
and well drawn, and the colouring warm and 


We shes +, 


A BIOGRAPHICAL DICTIONARY OF oS 


harmonious. Sandrart asserts, that he received 
two thousand crowns for this work. spk 

It is no slight proof of the ability of this master, 
that when Michael van Coxis of Mechlin, one of 
the greatest artists of. his time, was asked to paint 
an altar-piece for the new church at Amster- 
dam, he, on seeing the works of Pieter Aartsen, 
declined the undertaking, observing, that they had 
no occasion for his exertions when they pos- 
sessed such a painter. Aartsen died at Amsterdam 
in 1573. Many good works by him were destroyed 
by the Iconoclasts in 1566; the following are his 
best that remain: 


Brussels. Museum. The Cook. : 
Cassel. Gallery. Vegetables and Fruit. 
Vienna. Museum. Market Scene 


He had three sons, PIETER (called ‘ de jonge’), 
Azrt, and Dirk, and a grandson GEERT, who 
were all painters. 

AARTSZ, RuskaERT. According to Van Mander, 
this painter, the son of a poor fisherman, was 
born at Wyck, in North Holland, in 1482. He 
became a scholar of Jan Mostaert, the elder, a 
painter at that time in some repute at Haarlem. 
Under that master he made surprising progress, 
and not only soon surpassed his instructor, but 
became one of the ablest artists of his time. His 
first works on leaving the school of Mostaert, were 
two pictures painted as folding-doors to an altar- 
piece in the great church at Haarlem, wherein he 
represented two subjects from the history of 
Joseph and his brethren. He afterwards settled 
at Antwerp, and was received into the Academy 
there in 1520. He died in that city at the great 
age of 95. Aartsz’s works are for the most part 
to be seen in Friesland. 

~ ABACCO, Antonio D’, was a scholar of Antonio 
da San Gallo, an eminent architect at Rome, where 
he followed the same profession with reputation. 
In the year 1558, he published a valuable archi- 
tectural work, entitled Libro d Antonio d@ Abacco, 
appartenente al archatettura, nel quale su figurano 
alcuone nobile antichita de Roma, with fine prints 
engraved by himself. He also engraved the plans 
of St. Peter from the designs of his master. 

ABARCA, F. A. ErHenarp y. See ETHENARD. 

ABARCA, Maria Dz, is noticed in the history of 
painting in Spain, as having distinguished herself 
in Madrid as a paintress of miniatures and por- 
traits, which were much admired, even at a period 
in which the art may be considered to have reached 
its highest development in that country, in the 
time of the celebrated Velazquez. The dates of 
her works range from 1640 to 1653, and she died 
probably about 1656, 

ABATE ANDREA, L’. See BELVEDERE. 

ABATE CICCIO, L’. See SoLimena. 

ABBATE Faminy, THE (of Modena). See DELL’ 
ABRATE. 

ABBATI, GiusEprE, who was born at Naples in 
1836, studied first under his father Vincenzo, a 
painter of that town; and subsequently in the 
Academy at Venice. He excelled in genre and 
architecture, and in landscapes, in which he some- 
what resembles Jules Breton. One of his earliest 
works, ‘A Dominican singing in the choir of Santa 
Maria Novella, Florence,’ was painted in 1865, 


and received much praise; it is now in the Pina- 
2 


coteca of Capodimonte at Naples. In 1866 he 
took part as a volunteer in the war in the Tyrol. 


Of his works we may mention a ‘Peasant Family 
taking a Siesta,’ one of his best pictures; ‘The 

Prayer,’ in the Galleria Moderna, Florence; and 
the ‘Dominican,’ in the Modern Gallery of Milan. 
Abbati died at Florence in 1868, from the biteof 


his own dog—his constant companion. 
ABBATINI, Guipo UBALDO, who was 
Citta di Castello about 1600, was admitted into 
the Academy at Rome. 
Giuseppe Cesari, and distinguished himself as a 
painter of history in fresco. One of his principal 


works is the ceiling of the chapel of St. Theresa, in — 


Santa Maria della Vittoria, at Rome. He died at 
Rome in ete Heh TW f° 

ABBE, HENDRIK, an en- 
graver, painter, and architect, FE CA. 
was christened in 1639 in the 
cathedral at Antwerp, in which city some prints 
by him were published in 1670. He is also noticed 
by Heineken, who only mentions him as having 
made some designs for the edition of Ovid’s Meta- 
mophoses published by Barrier. 

ABBIATI, Fitippo, who was born at Milan in 
1640, was a scholar of Carlo Francesco Nuvolone. 
Under that master he made great progress, and 
proved a very excellent artist, particularly in 
fresco. Fertile and bold in his conceptions, his 
execution was commanding and resolute. In 
conjunction with Federigo Bianchi, he painted 


the cupola of Sant’ Alessandro Martyre at Milan. 


One of his best works was ‘St. John preaching in 
the Wilderness,’ at Saronno. He painted numerous 
altar-pieces in Padua, Bergamo, Turin, Milan, 
and other cities of Italy. He died at Milan, in 
1715. 

ABBIATI, GrvusEprrr, a Milanese designer and 
engraver, lived in the beginning of the 18th 
century. He etched some small prints of battles, 
and an allegorical subject from his own design. 

ABBIATI, Paoto Maria. The name of this 
engraver is affixed to a portrait of Girolamo Cor- 
naro, procurator of St. Mark. It is without a date 
or the name of the painter. He flourished towards 
the close of the 17th century; Zani says he was 
born at Milan. 

ABBOT, Joun W., was an honorary exhibitor at 
the Academy, from 1793 to 1810, He painted 
landscapes with cattle and figures, There is a 
small etching of a horse inscribed J. Abbot, dated 
1767. He also illustrated books upon American 
insects. 

ABBOTT, Francis LEMUEL, an English portrait 
painter, was born in Leicestershire, in 1760. He 
was ascholar of Francis Hayman. Without the 
possession of much taste, he acquired some reputa- 
tion for the faithful resemblance of his pictures, 
particularly his portraits of men, which some- 
times approach to excellence, He painted a por- 
trait of Cowper and several of Lord Nelson, which 
were much admired for their truth to nature. A 
portrait of Joseph Nollekens, the sculptor, by him 
ne ae the National Portrait Gallery. He died in 

ABEL, GorrTLieB FRIEDRICH,.a German er 
graver, who was born in 1763, was a pupil of 
Johann von Miller. He was engraver to the King 
of Wirtemberg, at Stuttgart. He furnished about 
125 plates to Reiter’s work descriptive of the 
various trees of Germany. 

ABEL, Hays, a painter of Frankfort, who lived 


born «ea 


He was a disciple of Pe 


* Sates 
H 


- 


about 1494, is supposed to have painted some 


of the beautiful windows which adorn the cathe- 


but fifty crowns for the original. 


_ invited him to Dinner; 


_ dral and several churches in that city. He also 


painted banners, 
ABEL, JosEPpH, a German painter of great 


ae merit, was born at Aschach in 1768. He was in- 


structed in the school of Figer at Vienna, and is 
said to have distinguished himself at an early age. 


: He was employed by the Czartoryski family in 
_ Poland, and visited Rome in 1802, where he re- 


mained six years, and produced several pictures, 
the subjects of which were taken from the Greek 

oets and ancient historians, and which gained 

im great applause. Among these, were ‘ Hector’s 
Departure,’ and ‘ Andromache on Hector’s Corpse.’ 
On his return to Vienna, in 1808, he painted por- 
traits, and large historical compositions, and was 


also employed in the decorations of the theatre. 
_ He died there in 1818. In the Darmstadt Gallery 


is his ‘ Brutus and the Relations of Lucretia swear- 


_ ing to be revenged.’ 


ABEL, —. Malvasia mentions this as the name 
of a French artist who, in 1650, received a hundred 
Roman crowns for a copy made by him of the 
‘Communion of St. Jerome,’ by Domenichino, 
The latter had been paid, a short time previously, 
It is to be re- 
gretted that we have not a more complete account 
of this successful copyist. 

ABEL pre PUJOL, ALEXANDRE DENIS, was born 
at Valenciennes, in 1787. He evinced early a taste 


_ for art, and, by his father’s consent, became a pupil 


of David. The fortune of the former, however, 
being dissipated by the revolution, the son had for 
some time a struggling life, being left by his master 


very much to his own resources. His first painting 


represented ‘ Philopcemen recognized whilst split- 
ting wood in the Kitchen of a Friend who had 
* and David was so much 
struck with it, that he gave Abel the advantage of 
free admission to his studio. He obtained in 1806 
the first medal at the Academy; in 1810 the gold 
medal of the second class for his picture of ‘ Jacob 
blessing the Sons of Joseph;’ and the Prix de Rome 
for his painting of ‘Lycurgus presenting to the Lace- 
dzmonians Charilaus as heir to the Throne.’ The 
climate of Rome not agreeing with his health, he 
was forced to return to Paris, when necessity com- 
pelled him to mingle sign-painting with a more 
ennobling application of his talent. In 1814 he 
exhibited ‘ Britannicus,’ which obtained a medal, 
and is now in the Museum at Dijon; in 1817, ‘St. 
Stephen preaching before his Martyrdom,’ painted 
for, and now in, the church of St. Etienne du Mont, 
Paris; in 1819, ‘The Virgin at the Tomb,’ ‘ Cesar 
in the Senate at the Ides of March’ (purchased 
by the Duke of Orleans, afterwards King Louis- 
Philippe, and destroyed in the fire at the Palais- 
Royal); and ‘Sisyphus in the Infernal Regions;’ in 
1822, ‘Joseph explaining the Dreams of the Butler 
and Baker of Pharaoh,’ which obtained a gold medal 
at Lille, and is now in the Museum of that town; 
‘Txion in Tartarus,’ which is in the Imperial Col- 
lection: ‘Germanicus on the field of Battle,’ and 
‘The Baptism of Clovis,’ which is in the cathedral 
of Rheims. He also in 1819 painted the ‘ Renais- 
sance of the Arts’ on the ceiling of the staircase of 
the Louvre, destroyed in the course of the alter- 
ations made in that establishment in1856. He also 
painted three subjects over doors at Versailles, and 
some fine frescoes in the church of St. Sulpice, 
Paris. He was a member of the Legion of Honour, 
B2 


aa ) PAINTERS AND ENGRAVERS. 


and of the ‘Institute,’ to which he was elected 
on the death of Baron Gros. He died at Paris ix 
1861. 

ABELS, Jacopus THEopoRus, who was born at 
Amsterdam in 1803, was instructed in art by Jan 
van Ravenswaay, the animal painter. In 1826 he 
visited Germany, and on his return settled at the 
Hague. He distinguished himself especially in 
painting moonlight landscapes. The Museum at 
Haarlem has works by him. Abels died at Ab- 
coude in 1866. 

ABENTS, Lronnarp. This artist was a native 
of Passau, in Bavaria, and flourished about the 
year 1580. He engraved the plan of the 
city of Passau for Braun’s Topography. He A 
marked his plates with this monogram. 

ABEREGNO, Giacomo, was a Venetian painter 
who flourished about the year 1400. 

ABERLI, Jonann Lupwice, a Swiss painter and 
engraver, born at Winterthur, in 1723, was a pupil 
of Felix Meyer, and painted, with success, portraits 
and landscapes. He published several coloured 
prints of views in Switzerland, which have been 
sufficiently admired to give birth to a great num- 
ber of imitations. He died at Berne in 1786. 

ABILDGAARD, Nixo.tas ABRAHAM, son and 
pupil of Sdéren Abildgaard, a Danish historical 
painter of great merit. He was born at Copen- 
hagen in 1744; in 1767 he received the great 
medal at the Academy, and went soon afterwards 
to Italy ; he spent most of his time in Rome, where 
he copied the works of Raphael, Michelangelo, 
and Titian. In 1777 he returned to his native 
country, and in 1786 was made professor in the 
Academy at Copenhagen, of which he was director 
from 1802 until his death, in 1809. He has been 
considered the best painter Denmark has pro- 
duced. His principal subjects were taken from the 
ancient poets ; but some of the best perished in the 
fire that consumed the palace of Christianburg in 
1794. Fissli relates that this had such an effect 
on his mind that he scarcely ever painted after- 
wards. His sketches made for them are still pre- 
served in the Copenhagen Gallery, which contains 
besides several good examples of his art. 

ABILDGAARD, SéreEn, who was born at Chris- 
tianssand, in Norway, in 1718, studied in Copen- 
hagen, and became a draughtsman of repute. He 
executed many drawings of antiquities in Norway, 
Sweden, and Denmark. 

ABRAHAM, Frere. See Ginson. 

ABRIL, Juan ALFONSO, was a native of Valla- 
dolid. He studied under Pablo de Cespedes at 
Cordova, and afterwards entered a convent. He 
died in 1645 at Valladolid, where there is in the 
Museum a ‘ Head of St. Paul’ by him, brilliant in 
colour, and in good taste. 

ABSHOVEN (or ABTSHOVEN). See APSHOVEN. 

ABSOLON, Joagn, was born at Lambeth in 1815. 
He studied under Ferrigi and at the British Museum, 
and started at the age of fifteen painting portraits 
in oil, He was next employed for some years 
under the well-known Grieve family in painting 
figures and other parts of scenes at Drury Lane 
and Covent Garden Theatres. His first exhibit, 
entitled ‘A Study from Nature,’ appeared at the 
Suffolk Street Gallery in 1832. In 1835 he visited 
Paris, and having exchanged oil for water-colour, 
on his return in 1839 exhibited at the New Water- 
Colour Society ‘The Savoyard Boy’ and ‘The 
First Sup.’ He became a member of this Society 
the same year, and was for many years its treasurer, 

3 


A CR art ak 
yy i 


A BIOGRAPHICAL DICTIONARY OF — ae 


In 1840 he exhibited ‘Singing for a Wife,’ and in 
1842 a popular picture ‘The Vicar of Wakefield 
in Prison.’ In successive years appeared ‘ Paul 
and Virginia’ (1843), ‘The Judgment of Midas’ 
and ‘Captain Macheath Betrayed’ (1844), ‘Thread- 
ing the Needle’ (1846), ‘Plenty’ (1849), ‘The 
First Night in a Convent’ (1853), ‘The Baptism’ 
(1856), ‘Téte-A-Téte’ (1860), « Mlle. de Saubreil’ 
(1861), ‘The Courtship of Gainsborough’ (1863), 
‘The Beacon’ (1876) and ‘ Returning from Church’ 
(1883), which now belongs to the Baroness Burdett- 
Coutts. His early study of scene painting led him 
to join with T. Grieve, Telbin and others in the pro- 
duction of the first and famous diorama ‘ The Route 
of the Overland Mail to India,’ which appeared 
in London in 1850. He exhibited several pictures 
at the Academy, among them, in 1857, an oil- 
painting ‘Boulogne 1857’ which attracted much 
attention. He also sent works to the British 
Institution and the British Artists’ Galleries. 
Many of his drawings were engraved and otherwise 
reproduced in black and white and also in colours, 
and were in their day exceedingly popular. He 
died in 1895. 

ABTS, WovurTER, was born, it is said, at Lier, 
near Antwerp, in 1582. He was admitted as a 
master to the Guild at Antwerp in 1604-5; and he 
died in 1642-43. He excelled in painting con- 
versation-pieces and landscapes. Adrian de Bie 
was one of his pupils. (See notice by Van Lerius 
in Meyer’s ‘ Kiinstler-Lexikon. ) 


trymen, but are little known elsewhere. The Hotel 
de Ville of his native town formerly possessed 
several good pictures by him, but they were de- 
stroyed by rioters in 1795, 

ACCAMA, Marrutiss, brother of Bernardus, was 
born at Leeuwarden, in 1702. He went to Italy, 
where he copied, with considerable talent, several 
pictures of the ancient masters. He died at his 
native town in 1783. He painted historical and 
emblematical subjects. 

ACCER. See Accius. 

ACCHILLINO, a Bolognese painter, flourished 
about 1324. Verci (Storia Trevigiana) says that 
the portrait of Can Grande, who died in 1329, was 
painted by him. 

ACCIUS, .CesarE ANTONIO (or ACCER), an 


was considered an artist of talent, but his works 
are now little known. Three etchings of land- 
scapes by Accius are mentioned, one of which, 
noticed by Heineken, bears his name and the 
date 1609. 

ACEVEDO, CrisropaAL DE (or ACEBEDO), an 
historical painter, who was born probably at 
Madrid about 1540, was a disciple of Bartolomé 
Carducho in 1585, and painted pictures for many 
of the convents in the capital. The nobleness of 
his characters, and his purity of design, placed him 
among the good artists of his time. He painted 
large subjects of sacred history. The date of his 
death is unknown, but it took place probably about 
the end of the 16th century. 

ACEVEDO, ManveL (or ACEBEDO), who was 
born at Madrid in 1744, was a disciple of José Lopez, 
out by diligently copying the works of the best 
painters he soon surpassed his master. He painted 
historical and religious subjects, and was much 
employed in Madrid. Bermudez mentions a ‘ John 

4 


: / y | became popular as a miniature-painter, 
Italian landscape painter, lived about 1609, and 


-as one of the best artists of his class. 


the Baptist’ and a ‘St. Francis’ by him in the 
chapel of the hospital of La Latina at Madrid. — 
He died in 1800. Cees 

ACHARD, JEAN ALEXIS, painter and etcher,was 
born at Voreppe (Isére), June 8, 1807. He first 
appeared at the Salon in 1839, with a ‘View 


near Cairo,’ after which he contributed a number 


of landscapes, chiefly French in subject. His 


‘View near Grenoble’ is in the Luxembourg. — 


Towards the close of his life he devoted himself : 


mainly to etching. He died October 6, 1884. 
ACHEN, Arnaut vAN. See AKEN, 
ACHEN, JowANnN voy. See AACHEN. | 
ACHTERVELDT. See OcHTERVELDT. ie) 
ACHTSCHELLINCK, Lucas, was born at Brus- — 
sels, and baptized on the 16th of January, 1626. 
In 1639 he entered the studio of Pieter van der 
Borcht, but it was not until 1657 that he was 
admitted, as a master, to the Guild. He died in 
Brussels in 1699, and was buried in that city, the 
scene of his labours; and there, in the church of 
SS. Michael and Gudule, in the town-hall, and in 
the Museum, remain a few of his best works. His 
manner is broad and bold; the foliage of his trees 
lightly touched, andapparently inmotion; his forms 
and scenery are grander than is usual in the works 
of the artists of his country; and his distances 
recede with a pleasing degradation. His pictures 
hold a place in the choicest collections in the Low 


Countries, and are deservedly admired. The Dres- 
' den Gallery has two landscapes ascribed to him. 

ACCAMA, BERNARDUS, a portrait painter, born | 
at Leeuwarden in 1697, where he died in 1756. | 
His works were much esteemed by his own coun- | 


Achtschellinck’s works were, it is said, ornamented ~ 
with figures by G. van Oost, L. de Deijster, Pieter 
Bout, and other painters. Achtschellinck had a 
younger brother, PrzTER, who was also a painter. — 

ACKER, JakoB, a member of a family of 
artists who flourished at Ulm in the 15th century, 
is known as the author of a painting, representing 
sacred subjects, on the side-wings and the predella 
of an altar-piece in the chapel of St. Leonard, 
in the church-yard at Risstissen. It bears his 
name and the date 1483. In 1473 he decorated 
the doors of the organ-loft at Minster, in 
Swabia. It has been surmised that this artist: 
may also be identical with a glass-painter, Jakob 
Acker, who flourished in Noérdlingen in the 15th 
century. ae: 

ACKER, JOHANNES BAPTISTA VAN, who was born 
at Bruges in 1794, studied under Ducq, and soon 
In 1834 
he went to Paris, and was there acknowledged 
After his 
return to Bruges, he was called by King Leopold. 
to Brussels, and painted numerous miniatures of 
the royal family and personages of ‘the court. 
After a journey to England, Van Acker returned 
to Bruges, where he died, in 1863. . 

ACKERMANN, Jowann ADAM, who.was born at 
Mainz in 1780, and studied there, visited Paris, 
but settled, in 1804, at Frankfort. He paid two 
visits to Rome. His winter landscapes, gained 
him much praise. Of his works may be mentioned 
‘Auerbach,’ in the Darmstadt Gallery. He died 
at Frankfort in 1853. His younger brother, 
GEORG FRIEDRICH ACKERMANN, was also a land- 
Scape painter of repute. He was born at Mainz 
in 1787, and died at Frankfort in 1843. 

ACQUA, B. DELL’ (or Aaua). See Deni’ Acqua. 

ACQUA, C. Datu’ (or Aqua). See Dax’ Acqua. 

ACQUARELLI, —, was a Neapolitan painter 
of architecture, of great merit, who flourished 
about 1640, He painted ornamental decoration 


‘ = a 


noticed: 


-art; and he several times visited the Tyrol. 


in churches, palaces, and theatres. He worked 


sometimes in conjunction with Scoppa. 

ACQUISTABENE, Maestro, a painter and de- 
signer of arehitecture, who was born at Brescia, 
flourished about 1295. 

ADAM, A.BREcuHT, a German painter, chiefly of 
battle-pieces, was born at Nérdlingen, in Ba- 
varia, in 1786. He accompanied, in 1809, the A 
French and Bavarian army against Austria, 
and in 1812 went with the Grand Army in the ex- 


-pedition against Russia, an officer’s rank being 


conferred upon him, with the title of ‘ Painter to 
the Court.’ Some of his most effective pictures 
represent the incidents of that most disastrous 
campaign; as, ‘The Battle on the Moscowa,’ ‘ Napo- 
leon surrounded by his Staff.’ In 1859 he set out 
with one of his sons to the Italian campaign of 
France and Sardinia against Austria, which ended 
with the Battle of Novara, of which he has left 
several graphic records, besides a series of large 
pictures painted from his first sketches, by com- 
mand of the Emperor Napoleon III. His last 
great work, a commission from King Maximilian 
of Bavaria, has for a subject the decisive charge 
of the Prussian cavalry against a square of the 


enemy at the battle of Zorndorf, where Frederick 


the Great commanded in person. Adam also 
painted portraits and landscapes, and occasionally 
etched. His works, less imaginative and dashing 
than those of Horace Vernet, are remarkable for 
their historical truthfulness, as well as for their 
accuracy of detail. He died at Munich in 1862. 
Albrecht Adam also produced many etchings and 
lithographs. Amongst others of his works may be 


Berlin. Wat. Gali. A Stable (signed and dated 1825). 

The Battle of Abensberg (signed and 
dated 1826). 

Interior of the Painter’s Studio 
(signed and dated 1835). 

A Wounded General (signed and 
dated 1826). 


” ” ” 
” 39 29 


Cassel. Gallery. 


Darmstadt. Gallery. Horses at Pasture. 


Munich. Pinakothek. The Storming of the Diippell Re- 
doubt. 
» » The Battle of Custozza. 
” - The Battle of Novara. 
va Two Men and a Horse. 


”° 
Munich. Pinakothek. A Stable. 


Cavalry Encamped. 
Equestrian Portrait of Field-Marshal 
Count Radetzky. 


ADAM, Franz, a German painter of horses, 
equestrian portraits, and battle-pieces, was born 
at Milan, May 4, 1815, and was the pupil of his 
father, Albrecht Adam. He practised chiefly at 
Vienna and Munich. He served with the Austrian 
army in the campaigns of 1849 and 1859, and 
made innumerable sketches of life in the field, 
many of which he afterwards used for pictures, 
He was a member of the Academies of Munich 
and Vienna, and gained medals in Paris and 
Berlin. He died September 29, 1886. 

ADAM, GrEorG, who was born in 1784, was a 
designer, engraver, and painter of landscapes. In 
Munich, acquainted with the most distinguished 
painters of landscapes, he improved rapidly in this 
He 
was one of the most fertile engravers, and his 
works, mostly landscapes and views, are of merit. 
He died at Nuremberg in 1823, 

ADAM, Hans, a designer and engraver of 
Nuremberg, flourished about 1560. A print, en- 


29 39 
39 99 


PAINTERS AND ENGRAVERS. 


titled ‘A Representation and Description of the 
Battle of Silbershausen,’ one of several ascribed 
to him, bears the mark of a figure of Adam naked 
standing by a tree, and also the letters H. A. He 
is said to have died in 1567. 

ADAM, Hetyricu, a brother of Albrecht Adam, 
was born at Nordlingen in 1787. He studied the 
art of painting at Augsburg and Munich, and dis- 
tinguished himself as a painter of landscapes and 
as anengraver. In 1811 he stayed with Albrecht 
at the Lake of Como, and painted in water-colours. 
He also engraved six hunting-pieces, after his 
brother Albrecht, at Milan, in 1813. Subsequently 
he painted landscapes and views of towns, which 
are executed with great truthfulness. He died at 
Munich in 1862. In the Pinakothek there are by 
him a‘ View of the Marienplatz in Munich’ sur- 
rounded by 14 smaller views, and a ‘ View of the 
Max-Joseph-Platz,’ also surrounded by 14 smaller 
views. 

ADAM, Jaxon, an engraver, born at Vienna in 
1748, was brought up in the Academy in that 
city. In conjunction with his countryman, Johann 
Ernst Mansteld, he made himself known by a 
series of portraits of the distinguished personages 
of Austria, published at Vienna, which are exe- 
cuted with great neatness and finish; of these, 
that of the Empress Maria Louisa is accounted 
the best. He also executed the plates for a 
Pictorial Bible, or ‘ Bilderbibel’ (1803), which 
gained him considerable credit. He died in Vienna 
in 1811. 

ADAM, Jan Victor, a French painter and 
lithographer, born at Paris in 1801, was the son of 
Jean Adam, an esteemed engraver. During the 
years 1814 to 1818 he studied at the Ecole des 
Beaux-Arts, and also in the ateliers of Meynier 
and Régnault. In 1819 he exhibited ‘ Herminia 
succouring Tancred.’ He was almost immediately 
afterwards employed to paint various subjects for 
the Museum at Versailles, amongst which are, ‘The 
Entry of the French into Mainz,’ ‘The Battle of 
Varroux,’ ‘The Taking of Menin,’ ‘The Battle of 
Castiglione,’ ‘The Passage of the Cluse,’ ‘The Battle 
of Montebello,’ ‘The Capitulation of Meiningen ;’ 
the last three in association with Alaux. He also 
exhibited down to the year 1838: ‘ Henry IV., 
after the Battle of Coutras,’ ‘Trait of Kindness in 
the Duke de Berri,’ ‘ The Postillion,’ ‘ The Vivan- 
diére,’ ‘The Road to Poissy,’ ‘The Return from 
the Chase,’ ‘ Horse-fair at Caen,’ and numerous 
other subjects. He then retired from publicity, 
till 1846, when he appeared as the exhibitor of 
some works in lithography, to which branch of 
art he afterwards restricted himself. In this line 
he produced a lithographic album, ‘ Views in the 
Environs of Paris,’ ‘Studies of Animals for an 
edition of Buffon,’ &c. He obtained a gold 
medal in 1824, a second class medal in 1836, 
besides: several others from Lille, Douai, and 
other cities. He died at Viroflay in 1867. 

ADAM, Joun, was an English engraver in the 
latter part of the 18th century, who engraved for 
Caulfield’s ‘History of Remarkable Characters 
from the time of Henry VIII. to James II.,’ and 
Herbert’s ‘Biography of Scottish Personages of 
Distinction.’ He also engraved the portraits of 
Queen Elizabeth, and Robert Dudley, Earl of 
Leicester, after F. Zucchero. 

ADAM, JosErH DENovAN, was born at Glasgow 
in 1842. He spent his early years in London, 
where he received his first tuition in art under his 


5 


Cae é 


A BIOGRAPHICA 


father,a landscape painter, and subsequently studied 
at Kensington. After several sketching tours in 
Scotland he settled there in 1871. Previously, 
however, his works had appeared at the Royal 
Scottish Academy—first in 1868. He was elected 
an associate of that body in 1884, and a full 
member in 1892. In 1887 he established a school 
for animal painting at Craigmill, near Stirling. 
Adam possessed great skill as a painter of sheep 
and Highland cattle, and is represented at the 
National Gallery of Scotland by his diploma work 
‘Evening—Strathspey,’ which appeared at the 
Royal Scottish Academy in 1892, and at the Paris 
Salon in 1894, Latterly he exhibited occasionally 
both at Paris and Munich, He died at Glasgow 
in 1896. 

ADAM, P., an English engraver, who flourished 
about the year 1690, executed a few etchings of 
landscapes in a tasteless style. In one of them, 
which is engraved in the manner of Mellan, with- 
out any cross hatchings, a figure is represented 


seated onabank. He usually signed | 
his plates with his name—the letters JP yaR 
P and A being joined together. : ' 

ADAM, PrTer, a German engraver, flourished 
about 1730. Heineken mentions six landscapes by 
a master of this name, probably the same. He is 
also supposed to have painted some pictures, 
which have the same monogram as the prints. 

ADAM, Ropert, the son of an architect, was 
born at Kirkcaldy, in Fifeshire, in 1728. After he 
had received a good education at Edinburgh, his 
father sent him to study the fine specimens of 
Roman architecture in Italy, where he remained 
several years. On his return to England, he was 
appointed architect to the king. He died in Lon- 
don in 1792. During his residence on the Conti- 
nent he had made drawings of the famous Palace 
of Diocletian, at Spalatro in Dalmatia, and in 1764 
published, in conjunction with Clérisseau, a volume 
in folio, entitled ‘Ruins of the Palace of Diocle- 
tian, at Spalatro in Dalmatia,’ with sixty-one well- 
engraved plates from his designs. 

~ADAMI, Pietro, born at Rome, excelled in 


marine subjects ; he painted about the year 1730 ; | 


little else is known of his history. 

ADAMO TEDESCO. See ELSHEIMER. 

ADAMS, CHARLES, is mentioned by Heineken 
as the engraver of an equestrian portrait of Charles 
I. of England. 

ADAMS, Rosert, an architect and engraver, 
was born in London in 1540. His eminence in his 
profession procured him the situation of surveyor 
of the works and architect to Queen Elizabeth. 
He made a set of drawings representing the battles 
between the English fleet and the Spanish Armada, 
which were engraved by Augustus Ryther, and 
published in 1589 ; they have now become scarce. 
Adams died in 1595. . 

ADDA, Francesco, Conte d’, a Milanese amateur 
painter, scholar and imitator of Leonardo da Vinci, 
painted small pictures on panel and slate for 
Pua cabinets. The Conte d’ Adda died in 
1550. 

ADLER, PuHIuirr, born at Nuremberg in 1484, 
is called (erroneously) by Florent le Comte, Adler 
Paticina. He mentions a plate by him of ‘St. 
Christopher carrying the Infant Jesus,’ dated 1518. 
The print, described by Strutt as his best per- 
formance, represents an altar, with the Virgin 
Mary crowned, and a female Saint holding the 
Infant Christ; it was engraved by David Hopfer, 

6 


#. 


L DICTIONARY OF = 


whose mark, when the print is perfect, 


a fi 
eS 


rh 


bottom of the plate. The inscription on th 


been cut off. : ie 
ADMIRAAL, B., was a Dutch painter, who flour. 
ished in 1662, as appears by a picture, with th 
name and date, representing the entrance to a 
city, with numerous figures, many of them in 
Oriental costume ; the style is similar to that of 
Weenix and Thomas Wyck, but displays a less 
delicate pencil than either. a 
ADOLFFZ, —. By this engraver, who, fro 
his name, appears to have been a native of Ger- 
many, we have a portrait of the Duc de Biron, 
Marshal of France, on horseback. It has now 
become scarce. E ie 
ADOLFI, Ciro, the younger brother ofGiacomo, — 
was born at Bergamo in 1683, and was instructed 
by his father Benedetto Adolfi. He possessed a 
more fertile genius than his brother, and a greater — 
facility, and distinguished himself by some con- 
siderable fresco paintings in the public edifices — 
in the city of Bergamo, and in the state. Hedied 
in 1758. His principal works are: sie 


Bergamo. S. Alessandro d. Croce. Four Evangelists. :. 
mi S. Mariad. Grazie. Depositionfromthe Cross. __ 
Colognola. Parish Church. Decollation of St. John. 


Another brother, of the name of NicoLa, painted 
battle-pieces ; his death is not recorded. 

ADOLFI, Giacomo, was, according to Tassi, 
born at Bergamo in 1682. He was the son of 
Benedetto Adolfi, a painter little known, and had 
not the advantage of any instruction superior to — 
that of his father. He painted historical subjects. — 
Amongst several of his works in the churches at 
Bergamo, his picture of the ‘Crowning of the Vir- 
gin,’ in the church of the monastery Del Paradiso, 
is esteemed one of his best productions. ‘The 
Adoration of the Magi, in the church of Sant’ 
Alessandro della Croce, is another admired picture 
by this master. He died in 1741. 

ADONE. See Dont. ) 

ADONIS. See De Bruisn, CoRNELIS. | 

ADRIAENS, Lucas (or ADRIAENNSSON), a native 
of Antwerp, was admitted into the Guild of St. 
Luke in 1459, and five times held the post of 
dean to the society. He co-operated in the cele- 
brated ‘Entremets’ at Bruges in 1468. He died 
about 1493. 

ADRIAENSSEN, ALExANpER, ‘the elder,’ 
was born at Antwerp, in 1587. He studied 
under Artus van Laeck, and in 1597-98 ++. 
entered, as a scholar of that master, the Guild of 
Painters at Antwerp, of which company he be- 
came a free member in 1610-11. Adriaenssen 
worked at Antwerp, and there enjoyed the friend- 
ship of Van Dijck, who painted his portrait, which 
has been engraved by Anton van der Does. He 
died in his native city in 1661, and was buried 
in the church of St. James. 

The subjects of his pictures are sometimes 
flowers and fruit, which he grouped and arranged 
with considerable taste, but he particularly ex- 
celled in the painting of fish, to which he gave 
a surprising appearance of truth and nature; 
representing them with a freshness and glittering 
effect of colour that produces perfect illusion. 
His works in this way, which are highly finished 


-” 


4, aires ; 
A . he 
as 


and well coloured, are deservedly esteemed. The 
Berlin Gallery has three splendid examples of his 
art; two are signed, and one of them bears the 
date 1647. . His works are also found in the Gal- 


_ leries of Madrid and Antwerp, and in private 
_ collections on the Continent. 

_ ADRIAENSSEN, ALEXANDER, ‘the younger,’ 
a painter of still-life, was born at Antwerp in 1625, 
and died there in 1685. Im the records of the 
_ Antwerp Guild are found several other Adriaens- 
sens, but they are of no great account. (See 
—- Meyer’ s Kiinstler-Lexikon.) 


ADRIANO, a Spanish monk of the order of 


a _ Barefooted Carmelites, born at Cordova, was a 


upil of Pablo de Cespedes. Pacheco, who knew 

im, speaks of him as a great artist; and Palomino 
states that his convent possessed for a long time a 
‘Magdalene’ by this master, which was considered 
worthy of Titian. His paintings are rare, as he was 
in the habit of destroying them as soon as finished, 
from a modest opinion, very uncommon to artists, 
of their inferiority. Some fine ones, however, were 
preserved, through the intercession of his friends. 
He died in 1601. 

_AEKEN, Higronymvs van, commonly known 
as JEROM Boscu 


: r 1 x oS i 
fee holeas bos 
; Ss 


togenbosch (Bois- 
le-Duc), was born 
between the years 1460 and 1464. Passavant, 
writing in 1860, says1450. That he visited Spain, 


_as has often been asserted, is sometimes doubted, 


-and at all events he did not make a very long 
stay there. In 1493 or 1494 he made a drawing 
for a window in the church of St. John at Her- 
togenbosch, for which he also executed various 
paintings; and he was later employed by Duke 
Philip le Bel. He died at his birthplace in 1518. 
Van Aeken made a whimsical choice of subjects 
for his pictures, which are generally grotesque re- 
presentations of spectres, devils, and incantations, 


_ which, however ridiculous, are treated with singu- 


lar ingenuity. He painted a few pictures of a more 
serious cast, among which were the ‘ Flight into 
Egypt,’ and ‘Christ bearing His Cross,’ in the 
church of Bois-le-Duc, which Karel van Mander 
speaks of in very favourable terms. One of his 


_ most singular compositions was a picture repre- 


senting ‘ Our Saviour delivering the ancient Patri- 
archs from Hell.’ Judas, in attempting to escape 
with the elect, is seized on by devils, who are in 
the act of hanging him in the air. A ‘ Last Judg- 
ment’ by him, is in the Berlin Gallery, and a ‘ St. 
Anthony’ in the Antwerp Museum ; and the Madrid 
Museum contains several of his works. It is said 
that Philip II. of Spain so much admired Van 
Aeken’s painting, that he had an altar-piece by him 
perpetually in his oratory. The engravings which 
were formerly ascribed to him are now known to 
have been done by Alaert du Hameel and other 
masters, from Bosch’s designs. The following are 
a few of them: 
The Temptation of St. Anthony; a large woodcut, 
engraved four years after his death; dated 1522. 
The Last Judgment ; Christ appears in the air, seated on 
a rainbow, and on each side of him are two angels 
sounding trumpets, with labels bearing the inscrip- 
tion: Hee est dies quem fecit dominus; Surgite 
mortui, venite ad judicium. At the bottom of the 
rint are small figures of men and devils of all shapes 


intermixed. 
St. Christopher carrying the Infant Jesus across a river, 


a) Pe wee Me eT PN, PP ee © ee oy ae 
. ~ x, 7 mn fj 7 4 : 
“4 a : 


PAINTERS AND ENGRAVERS, 


and a hermit with a lantern. Engraved on copper; very 
curious on account of the innumerable monstrous 
creatures swarming in the water. A very rare print. 

Constantine at the head of his army, an Angel showing 
him the Cross in the sky. 

The Baptism of Christ by St. John. 

An ad Wg of grotesque figures; inscribed 4/ dat 
op, Fc. 

A similar subject ; inscribed Dese Jeron. Bosch drolien. 


W.B.S. 


- AELS, N. The name of this engraver is affixed 

to a print representing St. Joseph leading the 

ncaa Jesus by the hand, with a landscape back- 
ound, 

AELST, Everr van, who was born at Delft in 
1602, excelled in painting birds, dead game, armour, 
vases of gold and silver, and similar subjects. 
He sometimes represented these objects on a clear 
or white ground, in a manner that produced a 
singularly natural effect. All his works are care- 
fully finished, his style is clean and flowing, and 
he disposed the inanimate objects he represented 
in a very pleasing and picturesque manner. He 
died at Delft in 1658. Pictures by him are in the 
Galleries at Dresden and Berlin, and the Uffizi, 
Florence. 

AELST, NicoLaus van, was born at Brussels 
about the year 1527. Atan early age he estab- 
lished himself at Rome, where from 1550 to 
1612 he carried on a considerable commerce in 
prints. The names of the painter, and the engraver 
of the plates, executed for his collection, were 
frequently omitted, and his own inserted, with the 
word forms, to denote that he was the publisher. 
It is, however, sufficiently proved that he some- 
times used the graver, as we have several plates 
in which the word fecit, or sculpsit, is added to his 
name. Heineken notices a set of twelve plates of 
birds engraved by this artist. 

AELST, Pauwet van. See Koerck, P. VAN. 

AELST, WILLEm VAN, the son of a notary, was 
born at Delftin 1620. He was the nephew of Evert 
van Aelst, by whom he was instructed in art. He 
passed four years in France and seven in Italy, 
and the polish and exquisite finish of his works 
rendered them extremely popular in both coun- 
tries. The Grand Duke of Tuscany employed his 
talents for some time, and, as a mark of his favour 
and approbation, presented him with a gold chain 
and medal. He returned to Holland in 1656, and, 
after spending some time in his native Delft, he 
settled at Amsterdam, where his pictures were so 
much admired that he could with difficulty satisfy 
the demands for his works; and at a sale which 
took place shortly after his death his pictures real- 
ized comparatively large sums. He died in that 
city in 1679. He is said to have imparted instruc- 
tion to the celebrated Rachel Ruisch; she was, 
however, only fifteen at the time of his death. 
Willem van Aelst, from his long residence in 
Italy, acquired the habit of signing his name in 
the language of that country: viz. Guilielmo (or 
more frequently Guill™°.) van Aelst. His pictures, 
like those of his uncle, represent fish, dead game, 
and still-life; they are, however, much more 
neatly finished, and are even more precisely 
wrought up than the highly-valued works of 
Weenix. Some of them, even signed ones, have 
been attributed to his uncle Evert—one signed 
W. Vag st, in the Uffizi Gallery, and two at the 
Hague, bearing the name of GUILL™®. VAN AELST, 
and dated respectively 1671 and 1663. Other good 
works by Willem van Aelst are in the eg of 


Berlin, Dresden, Munich, and Copenhagen, and in 
the Pitti Palace at Florence. Van Aelst was called 
by the Italians Guglielmo d’Olanda. 

AENAE, Perrvs (also written AENE and AENEAE), 
a German engraver in mezzotint, flourished in 
Friesland from about 1680 to 1700. He was 
chiefly employed in portraits ; and, among others, 
engraved that of Nicolaus Blankard, Profess. a 
Frank, Zit. 68 (P. Aeneae, fecrt et execudit) ; and 
those of numerous personages of the royal family 
of Nassau. 

AERTSEN, Pieter. See AARTSEN. 

AERTSZ, R1sKAERT. See AARTSZ. 

AETION, who is not noticed by Pliny, is men- 
tioned by Lucian in conjunction with Apelles, 
Euphranor, and Polygnotus, as the most successful 
of the ancient Greek painters in the mixing and 
laying on of colours. Aétion flourished about 
the time of Hadrian and Antoninus Pius, A.D. 
117—-161. Lucian mentions a graceful picture 
by him, representing ‘The Nuptials of Alexander 
with Roxana,’ which was exhibited at the Olympic 
games, and excited such admiration that Proxe- 
nidas, one of the judges, exclaimed in the midst 
of the assembly, “‘ I reserve crowns for the heads 
of the Athlete, but I give my daughter in mar- 
riage to the painter Aétion, as a recompense for 
his inimitable picture.” From the description of 
this painting, written by Lucian, Raphael is said 
to have made a design, executed in fresco in the 
summer-house in the garden of the Villa Borghese, 
Rome. 

» AFANAS’EV, Konstantin JAKOVLEVICH, a Rus- 
sian engraver, was born at St. Petersburg about 
1793. In 1803 he entered the Academy, where 
he studied under Klauber and Utkin. In 1818, 
during his stay at the castle of Pavlovsk, he en- 
graved several landscapes for the album of the 
Dowager Empress Maria Feodorovna. On his 
return to St. Petersburg he soon became famous, 
and could scarcely execute the many commissions 
he received. In 1839 he was made a member of 
the Academy. Afanas’ev was the first Russian 
artist who engraved on steel, and his engravings, 
which are mostly portraits, and executed with 
great neatness, gained him considerable renown. 
He died in 1857. 

AFESA, Pierro. This painter was called DELLA 
BasiI.icaTA, from his being a native of the province 
of that name, in the kingdom of Naples. He 
flourished about the year 1650. Dominici, in his 
‘Lives of the Neapolitan Painters,’ mentions him in 
very favourable terms. His works are preserved 
in many of the churches and convents at Naples. 
In the chapel of the convent of Marsico Nuovo, 
in that city, is an altar-piece by him, representing 
the ‘ Assumption of the Virgin Mary,’ which is 
highly esteemed. 

AFFDRUCK. See Dz HEuscu. 

AFFLITTI. See Frerrasvo.i. 

AGABITO, Pirzrro PAoLo, painter, sculptor, 
and architect, who was born at Sassoferrato, 
flourished from 1511 to 1531. His style was 
influenced by the Venetian school, and his works 
are executed in the manner of Lorenzo Lotto. The 
churches of Sassoferrato contain several of his 
works, among which may be mentioned ‘The 
Virgin between St. Catharine and John the Bap- 
tist,’ painted in 1511; and one, signed PETRUS 
PauLus AGABITI DI SAXOFERRATO, MDXVIILI., both 
in Santa Maria del Pano. An altar-piece by him, 
in a church of the Padri Riformati, near Jesi, 


oe 
er a 7 et Nites ce ate, = by Ba 
; ae 


A BIOGRAPHICAL DICTIONARY OF 2s” 


x ‘ re 


7 


representing the Virgin with the Infant, is 


sidered one of his best paintings. He died 
Massaccio, where he had settled. (See Meyer 


© Kiinstler-Leaxikon.’) . PA 

AGAR, JAcquxs D’, a portrait painter, was born a 
at Paris in 1640. He studied under Ferdinand 
Vouet, and began life as an historical painter, but 
he soon abandoned history for portraiture,inwhich _ 
branch of art he became very successful. In1675 
he was admitted into the Academy, and he became 
also painter in ordinary to the king and his court. © 
Upon the revocation of the Edict of Nantes, Agar, © 
as a Protestant, was shut out from the Academy, — 
He accordingly left France in 1682—never to re-— 
turn. He was invited to the court of Denmark, 
and was greatly patronized by King Christian V. 
The portrait of this painter, by himself, has found _ 
a place in the Florentine Gallery of Artists. Itwas 
painted, in 1693, by request of King Christian. 
Walpole tells us that he visited England, where 
he resided some time, and met with success. He 
painted the portraits of several of the nobility 
of Queen Anne’s reign; among whom were the 
Duchess of Montagu, the Countesses of Rochfort 
and Sunderland, Thomas Earl of Strafford, and 
others. A portrait of Charles II. of England, by 
him, is said -to have been formerly in the Gallery 
at Christiansburg. He died in 1716 at Copen- 
hagen. . 

AGAR, JoHn SAMUEL, was an English portrait — 
painter and engraver, who exhibited his works at —_— 
the Royal Academy from 1796 to 1806. He was 
at one time president of the Society of Engravers, = 
His works were chiefly in stipple. He was still 
living in 1835. a 

AGAS. See Aaaas. 

AGASSE, Jacqurs LAURENT, a celebrated animal 
painter, who was born at Geneva, studied for some 
time in Paris, came to London about 1800, and 
for many years exhibited his works at the Royal 
Academy. Some of them, including six land- 
scapes, were engraved. He died in 1846. 

AGELLIO, Giuseprpz. ,, According to Baglioni, 
this painter was a native of Sorrento, and a scholar 
of Roncalli, called ‘Delle Pomarance.’ He ex- 
celled in landscape and architecture, and was em- 
ployed by several. of his contemporary historical 
painters to paint the landscapes in the backgrounds 
of their pictures. He flourished at Rome about 
the year 1620. : 

AGGAS, RaupH (or AGAS), was a draughtsman 
and surveyor. He was a native of Stoke-by- 
Nayland, in Suffolk, and was born probably be- 
tween the years 1540 and 1545. He published a 
plan ofCambridge in the year 1578, and one of 
Oxford in 1588. He also prepared, about 1591, the 
large plan and bird’s-eye view of London, which 
was engraved on wood, and published in 1633. 
He died at his native village in 1621. 

AGGAS, RoBerT, was an English landscape and 
scene painter, who was employed by Charles II. 
A landscape by him is preserved in the Painter 
Stationers’ Hall. He died in 1679, aged about 60. 

AGHINETTI, called Guocio pez Szro, a Flor- 
entine painter, who was living in 1331, is ranked 
among the best artists of his time. He had a 
nephew, called Maestro Guccto, who was also 
eminent, and who died in 1409. 

AGI, CorDELLE (or Aaut). See CorDELLE AGI. 

AGLAOPHON is a name shared by two Greek 
painters, who are supposed to have been grand- 
father and grandson. 


and flourished 
_ the father and instructor of Polygnotus and 


Si ge OF a i ee oe ree 


_ AGLAOPHON, ‘ the elder,’ was a native of Thasos 
about 500 B.c. He is famous. as 


Aristophon. -Quintilian mentions ‘the simple 
colouring of Polygnotus and Aglaophon,” as 
though their manners were similar. No work can 
be ascribed to either of the two artists with any 
certainty. The painting of the ‘ Winged Victory’ 
—mentioned by the Scholiast on the ‘ Birds’ of 
Aristophanes—is supposed to be by the elder 
painter, though it has also been ascribed to the 
younger. 

AGLAOPHON, ‘the younger,’ flourished about 416 
B.C., and was probably the son of Aristophon. 
Athenzus mentions that he painted two pictures, 
in one of which Olympias and Pythias were re- 

resented crowning Alcibiades, and in the other 
emea held Alcibiades on her knees. Cicero 
was probably speaking of him when he says that 
Aglaophon, Zeuxis, and Apelles were all different 
in their styles, yet each one was perfect in his own. 

AGLIO, Agostino, who was born at Cremona in 
1777, was educated at Milan, and studied at the 
Brera. In 1803 he came. to England to assist 
William Wilkins, R.A., the well-known architect, 
in the production of his ‘ Antiquities of Magna 
Grecia,’ which was published in 1807. For many 
years Aglio was employed in the decoration of 

‘theatres, churches, and country mansions both in 
England and Ireland. Between the years 1820 
and 1830, he published several books on art, the 


_ principal of which were, ‘ A Collection of Capitals 


and Friezes drawn from the Antique,’ and ‘ Anti- 
quities of Mexico,’ illustrated with upwards of 
1000 plates, drawn from the originals. He also 
painted a portrait of Queen Victoria, which was 
engraved. Hediedin 1857. _ 

AGLIO, ANDREA-SALVATORE DI ANTONIO DI 
ARZO, born at Lugano in 1736, a painter on marble, 
who is said to have been the first who discovered 
the method of fixing colours on that material. 
He died in 1786. 

AGNELLI, FEpERIGo, an Italian engraver and 
printer, who flourished at Milan about the year 
1700. He was chiefly employed in portraits, 
though he occasionally engraved emblematical 
and architectural subjects. He engraved a set 
of plates representing the ‘Cathedral at Milan,’ to 
which he has affixed his name, and that of the 
architect, Carlo Butio. 

AGNEN. See AEKEN. 

AGNES, a daughter of the Margrave ARNOLD 
of Mzissen, aud Abbess of Quedlinburg from 
about 1184 to 1205, practised:successfully the arts 
of engraving and miniature painting. 

AGNESE. See Sant’ AGNESE. 

AGNOLO, AnpREA D’. See ANDREA. 

AGNOLO, Batrista. See ANGOLO. 

AGNOLO, Francesco, was a Florentine painter, 
who flourished about 1545. 

AGOSTINO ‘DALLE PROSPETTIVE’ painted at 
Bologna about 1525. He was very skilful in aéria} 
and lineal perspective, and imitated steps, doors, 
,and windows, so perfectly as to deceive men and 
brute animals. He painted a piece at the Car- 
mine, which for its foreshortening Lomazzo in- 
stances, along with the cupola of Corregyio at 
Parma, as a model of excellence. This painter 
must not, be confounded with Agostino di Bra- 
mantino. 

AGOSTINO pi SANT’ AGOSTINO. See Sanr’ 
AGOSTINO. 


PAINTERS AND ENGRAVERS. 


AGOSTINO VENEZIANO. See Musis. 

AGOTY, D’. See Gauvrirr. 

AGRESTI, Livio. This painter was a native of 
Forli, a town in the Roman territory. He began 
to work about 1550. He studied under Perino 
del Vaga at Rome, and was employed by Pope 
Gregory XIII. in the great works that were 
executed by order of that pontiff in the Vatican. 
In the grand staircase is a considerable fresco 
painting by this master, representing Philip of 
Aragon submitting his kingdom to the dominion 
of Pope Eugenius III. Several other works 
of Agresti are in the churches and public places 
at Rome. In Santa Catarina de’ Funari, he 
painted ‘St. Peter and St. Paul,’ and a picture of 
the ‘Annunciation,’ and in one of the chapels of 
San Spirito in Sassia is a fine altar-piece, represent- 
ing ‘the Assumption of the Virgin Mary.’ His best 
works are, however, in his native city of Forli. 
Rome possesses nothing by him equal to the 
chapel he has ornamented in the cathedral, where 
he has represented the ‘Last Supper,’ and in the 
vault, some admirable figures of the prophets. He 
is said to have visited Germany and worked there, 
but no painting by him is known to exist out of 
Italy. The British Museum has a drawing by 
Agresti of a ‘Last Supper.’ He died at Rome 
about 1580, and was buriedin San Spirito in 
Sassia. 

AGRICOLA, CuristopH Lupwie, a painter of 
portraits and landscapes, was born at Ratisbon 
in 1667. He studied chiefly from nature, though, 
while in Italy, he was influenced by the style of 
Poussin. Agricola lived several years in Naples, 
and some of the views which he made there 
have been brought to England. He died at his 
birthplace in 1719. His landscapes, which are 
executed in a masterly manner, frequently contain 
figures and antique buildings and ruins. Land- 
scapes by him are in the Galleries of Florence, 
Vienna, Cassel, and Dresden, and in the Museum of 
Brunswick, which also possesses his own portrait 
by himself. Amongst the engravings by him is 
one of a landscape, into which he has introduced the 
fable of Diana and Acteon. It is signed Agricola 
Jecut. Some other engravings by him bear merely 
his initials, C’. Z. A. 

AGRICOLA, Fizirero, who was born at Urbino 
in 1776, received his art-education in Rome in the 
Academy of St. Luke, of which institution he 
became president in 1843. He formed his art by 
studying the works of the great Italian masters of 
the 16th century, and of the antique ; and he was 
considered one of the best painters of the time in 
Rome. He was much employed in decorating 
churches—San Onofrio, San Giovanni in Laterano, 
and others. He was engaged upon works for San 
Paolo fuori le Mura when he died in 1857. Besides 
his paintings of mythological and sacred history, 
he executed numerous portraits of great merit; 
amongst others those of the ‘Crown Princess of 
Denmark’ (1822), and the ‘Countess Perticari.’ 
His ‘ Petrarch and Laura,’ and ‘ Dante and Bea- 
trice,’ must also be mentioned. 

AGRICOLA, Karu JoserH ALoys, was born at 
Seckingen, Baden, in 1779. After a preliminary 
course of instruction in Karlsruhe, he went in 
1798 to Vienna and entered the Academy, where 
he studied under Figer. He soon became known 
for his mythological pictures in oil and water- 
colour—of which we may mention a ‘Cupid and 
Psyche’—and for his etchings and lithographs; 

9 


» oY" 


* 


but he was more especially famed for his minia- 
ture-portraits. After a prosperous career he died 
in Vienna in 1852. He painted in the style of 
the end of the 18th century, and was an imitator 
of his master Figer. He engraved after the 
works of Elzheimer, Raphael, Poussin, Parmigi- 
ano, Domenichino, Fiiger, and others. 

AGROTE, ANTONIO, an architectural painter, 
flourished about 1750. He painted one of the 
chapels of the Carmelite church at Milan, and the 
decorations of Santa Maria at Brescia, for which 
Carloni painted the figures, 

AGUA, BERNARDINO DELL’ (or Acqua). See 
DELL’ AcQua. | 

AGUCCHIA, GiovaNNI, an engraver, is stated 
by Heineken to have been a native of Milan, 
flourishing in the 16th century; and to him he 
ascribes two engravings, one of the cathedral of 
Milan, to which is affixed the signature, Agucchi 
fece Milano ; and the other of the gateway of a 
large building, bearing the initials G. A. Schmidt, 
in Meyer’s ‘ Kinstler-Lexikon,’ doubts whether 
the two works are by the same man, and seems 
to think that there is a possibility of the former 
work being by Federigo Agnelli. 

AGUDO. See Maprazo. 

AGUERO, Beniro MANUEL DE, a landscape and 
battle painter, was born at Madrid in 1626, and 
was a scholar of Mazo Martinez, whose style and 
manner he closely followed. He endeavoured to 
imitate Titian in his historical compositions, but 
was not successful. He died at Madrid in 1670. 
His pictures are now very rarely seen. 

AGUIAR, Tomas Dz, a disciple of Velazquez, 
painted portraits, which were distinguished for the 
freedom of the style and their strong resemblance. 
Among other eminent persons he painted Antonio 
de Solis, the poet, who celebrates him in a sonnet. 
He was considered an excellent painter of small 
figures. He died in Madrid about 1679. 

AGUILA, DEt. See Det Aquinas. 

AGUILAR. See JaurEGuy y AGUILAR. 

AGUILERA, Dixco DE, was a painter of sacred 
history, and resided at Toledo about 1587. He 
was a man of conciliating manners, and a good 
judge of works of art; he was generally con- 
sulted by the nobility and others as to the prices 
demanded by artists, and did justice to both. The 
greater part of his pictures were destroyed by fire. 
The time of his death is not known. 

AGUILLES. See Boyer. 

AGUIRRE, Francisco Dz, a pupil of Eugenio 
Caxes, was a portrait painter, and a restorer of 
pictures, to which occupation he particularly de- 
voted himself. He commenced to practise it at 
Toledo in 1646, where he was employed to restore 
the pictures in the cathedral, and gave abundant 
proots of his ignorance and presumption, by alter- 
ing them according to his notions; a practice that 
has been followed by others since his time, and 
to which may be ascribed the loss of many fine 
pictures of the best Spanish masters. Aguirre is 
otherwise known only by his portraits, which 
never rose above the level of mediocrity. 

AGUIRRE y MONSALBE, Manuet, a painter 
of Aragon and pupil of Vicente Lopez, became, in 
1846, professor at the Academy of San Luis in 
Saragossa. A collection of portraits of the Kings 
of Aragon by him is in the Casino at Saragossa. 
He died in 1855. 

AGULLO, Franotsco, a Spanish painter, exe- 
ihe in 1637 an altar-piece for the convent of St. 

0 


‘A BIOGRAPHICAL DICTIONARY OF 


| His own portrait is in the Uffizi Gallery. 


Sebastian at Concentaina, his birthplac He 
died there in 1648. | Sie Se aia 
AGUSTIN y GRANDE, Francisco, an historical — 
painter, who was born at Barcelona in 1 . 
studied in Rome under Raphael Mengs, and — 
became one of his best imitators. On his return — 
to Spain he became first director of a school « ee 
design at Cordova, and subsequently, in 1799, a — 
member of the Academy of San Fernando at 
Madrid. He died in 1800. Agustin painted — 
chiefly for churches, and the greater part of his — 
works are in Cordova. ae 
AHLBORN, Avcust WILHELM JULIUS, aland- 
scape painter, who was born at Hanover in 1796, 
received instruction under Wach in Berlin, and 
went in 1827 to complete his education in Italy, — 
where he resided nearly thirty years, and thus ~ 
became almost an Italian in manner. He died in 
Rome in 1857. While abroad he sent, from time 
to time, to Berlin, landscapes which gained him 
much praise, and, while in Germany, in 1833 he © 
was elected a member of the Berlin Academy. 
The first work he sent was a view of the Colosseum 
and the Via Sacra in 1829. He also painted vie 
in the Tyrol and North Germany, but they we 
not so successful as his landscapes of southern 
climes. While in Italy he executed sacred pictures — 
after Fra Angelico, Perugino, and other early 
Italians. In the Berlin National Gallery there 
are by him a ‘ View of the Castle of Wernigerode, — 
in the Harz,’ 1827, and a ‘ View of Florence,’ 1832. 
AIGEN, Kart, who was born at Olmiitz in 
1684, painted in Vienna, and in 1754 becamea 
member of the Academy, of which he was subse- 
quently director and professor. He died at 
Vienna in 1762. The Gallery of the Belvedere _ 
in that city has two works by him—both views 
with figures. ) a 
AIGUIER, Louis AueusTz LAURENT, a French ~ 
marine painter, was born at Toulon in 1819, and 
died in that town in 1865. There are examples of 
his work in the Museums of Toulon and Marseilles. 
AIKMAN, WIt.iAm, was born at Cairney, in 
Forfarshire, in 1682. He for some time studied 
the law, but his inclination for painting led him to 
change his profession. After studying under Sir 
John Medina for three years, he visited Italyin 
1707, where he studied three years, and afterwards 
went to Turkey. On his return to Scotland in 
1712, he met with great encouragement as a por- 
trait painter, in which branch of the art he chiefly 
excelled. In 1723 he went to London, where he 
successfully practised his art until his death in 
1731. He was possessed of considerable literary 
qualifications, and was on intimate terms with 
Kneller, whose style of portraiture he imitated ; 
and with Allan Ramsay, Thomson, and Mallet. 
His memory was celebrated by the two last: . 
Mallet wrote his epitaph, and Thomson hiselegy 


AINEMOLO, Vincenzo. See ANIEMOLO. a 

AINMULLER, Max Emmanvet,apainteronglass __ 
and porcelain, was born at Munich in 1807. Ti 
Having studied architecture for some time FA a 
at the Munich Academy, where he showed 
special ability for ornamentation, he received an 
appointment as designer at the Royal Porcelain 
Manufactory at Nymphenburg. Shortly afterwards 
he gave up this appointment in order to devote 
himself to the art of glass painting, which he helped 


to raise from its long decline, and in it he became } 
justly celebrated. Under his direction were pro- 


OM EA Petia ey. 


_ duced the splendid glass paintings for the cathedrals 
at Ratisbon, Cologne, and Spires, the University 
church at Cambridge, and St. Paul’s Cathedral in 
London. 
_ The following are some of his best works: 


He died at Munich in December, 1870. 


Berlin, Wat. Gall.: Interior of a room at Hohensalz- 


burg, 1843; Cloister, 1844; Poets’ Corner—Westminster 


Abbey, 1844; Westminster Abbey—Henry VILI.’s Chapel, 
&c., 1856; Interior of a Byzantine Church, 1857. Munich, 
Pinakothek: Choir of Westminster Abbey ; Westminster 
Abbey—Shrine of Edward the Confessor, &c.; Cathedral 


| of Rheims. 


ATROLA, ANGELA VERONICA, a native of Genoa, 


instructed in the art by Domenico Fiasella, called 


Sarzana. She painted some pictures for the 
churches in that city, and then joined the order 


of San Bartolommeo dell’ Oliveta at Genoa, and 


painted while in the convent. She died in 1670. 
AIVOZOWSKI, Ivan ConsTANTINOVITSCH, was 
born at Feodosia, Crimea, in 1817. He studied at 


_ the St. Petersburg Academy from 1833, becoming 
_ a pupil of Philippe Tanneur in 1835, As a painter 


of marine subjects he first attracted attention in 
1837. In 1840 he went to Italy, and painted at 
Naples ; and after visiting Holland, England and 


Spain returned in 1844 to Russia, where he was 


made a member of the St. Petersburg Academy, 


and executed for the Emperor several views of 


\ 


the Gulf of Finland. He died in 1900. 

AKEN, Arnovt vay, brother of Jozef van Aken, 
flourished in England in the beginning of the 18th 
century. He etched frontispieces to plays and 
other small works for the publishers. 

AKEN, F. van, a painter of fruit, flowers, and 
objects of still-life, flourished in the early part of 
the 18th century (?). No details are recorded of 
his life. His works bear his name, F. van Aken, 


or the initials, 7. V. A. 


AKEN, JAN van—not to be confounded with 
Johann von Aachen (who was born in 1552)—was 
a painter and engraver, and was born in Holland 
in 1614. He was a contemporary and friend of 
Pieter van Laer, called Bamboccio. Van Aken 
etched four landscapes, or views of the Rhine, 


_—marked H. L. inventor, I. v. Aken, fecit—after 


Hermann Saftleven, whose style he imitated. We 


have also by him a series of six subjects of horses 
in different positions, with very pleasing back- 
grounds, marked J. v. Aken, fecit. Heineken 
mentions a print by him, with a horse saddled 
in the foreground, a man behind lying down, and 


another seated with his hat on, = 
marked J. van Aken, fec. This Bod Vv. 
print is very scarce. 

AKEN, JozeF vAN, a Flemish artist, who was 
born in 1709 at Antwerp, passed a great part of 
his life in England. He was employed by eminent 
landscape painters to paint the costumes of the 
figures in their pictures, in which he was very 
skilful, and thereby acquired the name of 
‘Schneider van Aken’ (Van Aken the tailor). 
He also painted on satin and velvet, and produced 
some excellent works. He died in London in 1749. 

AKEN, SEBASTIAEN VAN, a Flemish historical 
painter, was born at Mechlin about 1656, and be- 
came a pupil of Lucas Franchoys, the younger. He 
afterwards went to Rome, where he studied under 
Carlo Maratti, and visited Spain and Portugal. A 
painting by him of St. Norbert is in the village 
church of Duffel, near Mechlin. He died at Mech- 
lin in 1722. 

AKERBOOM, —, was a Dutch painter of the in- 


PAINTERS AND ENGRAVERS. 


teriors of cities and villages, of whom no details 
have been recorded. He lived about the middle 
of the 17th century. The execution of his works 
is admirable. Houbraken mentions a highly fin- 
ished miniature picture of the town of Doornick 
by him. 

AKERSLOOT, WiLLEm, a Dutch engraver, was 
born at Haarlem about the year 1600. He was living 
in 1651. He engraved a few plates of portraits, 
and other subjects, amongst which are the follow- 
ing: 

Frederick Henry, Prince of Orange, after A. van der 
Venne; Amelia, Princess of Orange, with her two 
Daughters, after the same ; Christ taken in the Garden, 
after Holbein; Christ bound, after P. Moijn; Peter 
denying Christ, after the same. 

AKREL, Freprik, was born at Oja, in the pro- 
vince of Sudermania, in Sweden, in 1748. He was 
instructed in the art by Akerman at Upsal, where 
he engraved the views of some buildings in that 
town, and a few portraits. In 1771 he visited 
Stockholm, where he had access to the instruc- 
tion of the Academy. Two years later he visited 
Paris, but did not remain there long, He died at 
Stockholm in 1804. There is a set of ten well- 
engraved portraits of Swedish personages by 
him. 

ALABARDI, Giuszprs, called Scuiopri1, a Vene- 
tian painter, lived about 1600. He painted in oil 
and fresco in the Doge’s palace, the churches, 
and other public buildings of Venice. 

ALAGNA. See TAnNzio. 

ALAIS, J., engraved portraits of Edmund Kean 
as Macbeth and as Iago, after George Cruikshank, 
which were published in London in 1814. 

ALAMANNI. See Atrmani. 

ALAMANNUS. See ALEMANNO. 

ALAUX, JEAN, called Le Romatrn, historical 
painter, was born at Bordeaux in 1786. Early in 
life he entered the school of M. Vincent, in Paris, 
where he was a fellow-pupil with Horace Vernet ; 
subsequently he attended the atelier of P. Guérin, 
with Ary Scheffer, Delacroix, and other eminent 
artists. He obtained the Grand Prix de Rome in 
1815 ; but did not attract general attention till 1824, 
when he exhibited ‘The Combat of the Centaurs 
and Lapithe,’ and ‘Pandora. He was much 
patronized by Louis Philippe, and executed several 
oil paintings and frescoes in the Louvre, the 
Luxembourg, and the Historical Museum at Ver- 
sailles. He was decorated with the cross of the 
Legion of Honour in 1841, and made director of 
the French Academy at Rome five years later. He 
died at Paris in 1864. 

ALAUX, JEAN Patt, called GENTIL, a French 
landscape painter and lithographer, was born at 
Bordeaux in 1788. He became director of the 
School of Design at Bordeaux, and died there in 
1858. A View of Bordeaux painted by him is in 
the Museum of that city. 

ALBA, Macrino pn’. See Fava, GIANGIACOMO. 

ALBANESI, ANGELO, was an Italian engraver, 
who flourished in the latter part of the 18th century. 
By him are some neat, spirited etchings of archi- 
tectural ruins in and near Rome, some of which 
bear his name. He executed a series of ergravings 
of nymphs after Angelica Kauffmann, which were 
published in London in 1784. He also engraved 
some portraits, 

ALBANI, Francesco (or ALBANO), the son of 
Agostino Albani, a silk merchant, was born in 
Bologna in 1578. Although he showed a strong 

11 


inclination for the arts from his childhood, his 
parents were desirous of bringing him up to his 
father’s profession ; but his uncle, thinking he per- 
ceived in him indications of genius, prevailed on his 
father to place the lad, at the age of thirteen years, 
under the care of Denijs Calvaert, whose academy 
was at that time in great repute. Guido Reni, who 
was then a student under Calvaert, conceived a 
friendship for the young Albani, and assisted him 
in his studies. Later on Guido, having learned 
all he could acquire from his first instructor, be- 
came a scholar of Lodovico Carracci. He was 
soon ‘followed by Albani, and they continued 
their studies under that distinguished master with 
great assiduity, accompanied by an emulation 
conducive to the advancement of both. Guido, 
on leaving the Carracci, visited Rome, whither 
he was soon after followed by his friend and fel- 
low-student. It was not long before the talent 
of Albani brought him into notice in that metro- 
polis of art; and Annibale Carracci (who was 
at that time employed in painting the chapel of 
San Diego, in the national church of the Span- 
iards), falling sick, recommended Albani to be em- 
ployed to finish it, and the greater part of the work 
was completed by him, in a manner that gained 
him great reputation. He was afterwards engaged 
in some considerable works in the Verospi (now 
the Torlonia) Palace at Rome, where he represented 
different subjects from Ovid, treated with great 
ingenuity. These performances established the 
fame of Albani throughout all Italy. The Duke 
of Mantua invited him to his court, where he 
painted several pictures, representing the story of 
‘Diana and Acton,’ and ‘ Venus and Cupid.’ 

On his return to Rome he executed the large 
works which are in the tribune of the Madonna 
della Pace. In the church of San Sebastiano is an 
altar-piece representing the martyrdom of that 
saint, entirely in the manner of Carracci, and a 
picture of the ‘Assumption,’ painted in conjunc- 
tion with Guido Reni. 

He died at Bologna, in 1660, in the arms of 
his pupils—with his brush in his hand—in his 
82nd year. The four allegorical pictures of the 
‘Elements,’ now in the Borghese Palace, which he 
painted for the Cardinal Maurice of Savoy, are 
reckoned among the finest of his works, and have 
been copied repeatedly, some so successfully as to 
pass for the original works. 

The following is a list of some of his principal 
works : 


Bologna. Pinacoteca. Annunciation. 

Baptism of Christ. 

Amorini dancing—with the Rape of 
Proserpine. 

Diana and Actzon. 

Venus and Vulcan. 

Creation of Eve. 

His own Portrait. 

Infant Christ (with Angels). 


Dresden. Gallery. 


39 


” ” 


” bd 
Florence. Uffizi. 


” 
Milan. Brera. The Rape of Proserpine. 
Paris. Louvre. Amorini disarmed. 


Venus and Adonis. 


Rome. 8. Mar. de P. Children (fresco). 


fe Colonna P. Europa and the Bull, J 
y Torlonia P. Scenes from Ovid. 
Petrsbrg. Hermitage. Europa and the Bull, 
7 + Baptism of Christ. 
Turin. Gallery. Four Elements. 


The style of Albani is more beautiful than 
grand; his compositions are ingenious and abund- 
12 


une CEs ebay eae 
A BIOGRAPHICAL DICTIONA 


Se en 
RY-OF {) : 7 
Shoe ; Se 
ant, and his figures are both elegant and gra 
The landscapes which occupy the backgrou f 
his pictures are extremely pleasing, touched with © 
great taste, and there is a freshness and delicacy in © 
his colouring that charm the beholder. It cannot, — 
however, be denied, that he is to be regarded rather — 
as an agreeable than as a great painter. > Spa 

Albani had many pupils, among whom Giovanni © 
Battista Mola, Carlo Cignani, Andrea Sacchi, and — 


Giovanni Maria Galli, called ‘Bibiena,’were the 


most famous. A very rare etching, representing — 
the ‘Death of Dido,’ has been attributed to this — 
eminent painter. BF ah 


ALBANIS pz BEAUMONT, Juan Frangors, an 


amateur artist, born in Piedmont, came in the 


latter half of the 18th century to Englandand was — 
naturalized. He published at Genoa, in 1787, 
‘Voyage Pittoresque aux Alpes Pennines, with — 
twelve coloured plates, and during the next 


twenty years several other books of travels in the — 


Alps and the South of France, illustrated from his _ 
own drawings, which he engraved in aquatint. It _ 
is believed that he died in England soon after 


1806. 
ALBANO. See ALBANI. 


ALBARA. See Cargont. a 


ALBARELLI. See ALBERELLI. 


ALBARETI, —, born at Rome, painted abou = 


1520. The name was discovered on a pictureof = 


‘Christ in Glory,’ after the manner of the pupils 


of Raphael, when the work, which is inthe Parma 
It had formerly Ae 
ne ay . \ 


Academy, was cleaned at Paris. 
been ascribed to Raphael himself. 

ALBE, Bacuer vp’. See BAcLER D’ ALBE. 

ALBERELLI, Giacomo (or ALBARELLI). This — 
painter was a native of Venice, and flourished 
about the year 1600. He was a disciple of Jacopo 
Palma the younger, with whom he worked as a 
coadjutor for thirty-four years. He painted his- 
torical subjects, and there are several of his works 
in the public edifices at Venice, of which one of 
the most esteemed is a picture of the ‘ Baptism of 
Christ,’ in the church of the Ognissanti. 
about the year 1650. Ridolfi tells us he was also 
a sculptor. 

ALBERICI, Enrico (or ALBRIzZI), was born at 


Vilminore, near Bergamo, in 1714, and was a 


scholar of Ferdinando Cairo, of Brescia, under 
whom he studied three years. He is stated by 
Tassi, in his account of the Bergamesque painters, 
to have been a very reputable artist; and several 
of his works are particularly described by that 
author. He died in 1775 at Bergamo. He painted 
many works for the churches and buildings of 
Brescia, Bergamo, and the villages in the Valle di 
Scalve. Among many others he painted for the 
church Santa Maria dei Miracoli, at Brescia, the 
‘Woman of Samaria,’ the ‘ Parable of the Pharisee 
and the Publican,’ the ‘ Raising of Lazarus,’ the 
‘Prodigal Son,’ and the ‘Good Shepherd? 

ALBERT, Simon, a distinguished historical 
painter, born at Haarlem in 1523, was a scholar 
of Jan Mostaert. He lived to a great age, but 
the exact year of his death is not recorded. 

ALBERT von WESTPHALEN. See ALDE- 
GREVER. 

ALBERTI, ALeEssanpro, the eldest son of 
Alberto, was born at Borgo San Sepolero in 1551. 
He received instruction in art from a painter of 
the name of Gaspero di Silvestro, of Perugia. In 
1566, Alessandro’s uncle Lodovico took him to 
Rome, where he subsequently executed in the 


rie” 


ac 
mS: 


Hedied 


wf 


*, 


— 


ae 


fll ree 
5 Peete 


7 rw 
hee 


PAINTERS 
ie mi Ba Puts J f ‘ ~ ~ ; | : 
churches, and public buildings, pictures 


of h merit. He worked much in conjunction 
with his brothers. He died at Rome in 1596, 
while engaged on the great work of decorating 
the Sala Clementina for Pope Clement VIII. 
Alessandro also worked at Borgo San Sepolero, 
‘Naples, and Mantua. G 
_ ALBERTI, Antonio, of Ferrara, painted por- 
traits and sacred subjects, and was distinguished 
- in his day. In the sacristy of the church of San 
iardino, outside Urbino, is a ‘Madonna and 
Child enthroned,’ by him, dated 1439. The fres- 
 eoes in the chapel of the Bolognini, at San Petronio, 
& 3 ey a consisting of incidents from the Passion, 
_ the Paradise, and the Inferno, and numerous 
yi rures of saints and angels; as well as those 
which decorate the inner choir of Sant’ Antonio 
i _ Abate, Ferrara, and dated 1433, consisting of a 
_ half-length Virgin and Child, between SS. Benedict, 
Sebastian, another saint, and an angel with a bal- 
ance, have all been attributed to Antonio by Crowe 
and Cavaleaselle. The dates of this artist’s birth 
and deathareunknown. He had a son of the same 
- name, who was also asuperior artist, living in 1550. 
_ ALBERTI, CuHErusino, called BoR@HEGGIANO. 
fi This eminent artist was born at Borgo San Sepolcro 
i 
a 


> 


es : 


we 


a 


in 1553. He was the second son of Alberto 
Alberti, an architect and sculptor. He became a 
_ reputable painter of history, and executed many 
considerable works both in oil and in fresco, in the 
palaces and churches of Rome, where his principal 
paintings were in the church of Santa Maria in Via. 
___ He was also director of the Academy of St. Luke 
in that city, where he died in 1615. His native 
town possesses numerous examples of his art, as 
well as several works executed by him in conjunc- 
tion with his brothers, Alessandro and Giovanni. 
He is, however, more celebrated as an engraver 
than a painter, and in that character he is deserv- 
ing of particular attention. It is not ascertained 
from whom he learned the art of engraving; but, 
- from his manner, especially in his earliest produc- 
tions, it is very probable that he may have been 
a scholar of Cornelis Cort, and afterwards 
have formed to himself a more correct and a freer 
style, by studying the works of Agostino Carracci 
and Francesco Villamena. His plates are executed 
entirely with the graver, and it does not appear 
that he made use of the point. His drawing, 
particularly in the nude, is generally correct, and 
the airs of his heads have a pleasing expression, 
but his draperies are clumsy and stiff. His works 
as an engraver may be considered as very extra- 
ordinary productions of genius, and that at a 
period when the art of engraving was at a great 
distance from the perfection to which it after- 
wards arrived. We are indebted to this artist for 
having preserved to us, in his prints, some of the 
beautiful friezes by Polidoro da Caravaggio, 
ap on the facades of the public edifices, which 
ave been destroyed by time. 
The prints of this master are very numerous ; 
the whole of his works extend to about 180 
plates, 75 of which are from his own designs; the 
others are from Michelangelo, Raphael, Polidoro 
da Caravaggio, Andrea del Sarto, 6 
and others. He generally marked R 
his prints with one of these mono- / ’ 
grams. The following are his principal works: 


SUBJECTS FROM HIS OWN DESIGNS. 


Portrait of Pope Gregory XIII. oval, with ornaments. 
of Pope Urban VII., the same. 


r 
Oy fhe 


D ENGRAVERS. 


ig 4 i 


A av i 4 oan ie 


Portrait of Henri IV. of France, oval. 1595. 
of Pietro Angelo Bargeo. 
ape we the Head of Holofernes. 
e Nativity ; inscri Deus omnipotens, §c. 
The Flight into = itis ine ee 
The Holy Family, with St. Elisabeth. 1571. 
_ Another Holy Family ; St. Joseph seated, with a book. 
The Body of Christ supported in the clouds by an 
angel; inscribed, Magnum pietatis opus, $e. 
The Virgin Mary and Infant in the clouds; iascribed, 
Regina celi. f 
Mary Magdalene penitent. 1582. 
St. Catherine receiving the Stigmata. 1574. 
St. Christian drawn out of the sea. 
St. Francis receiving the Stigmata. 1599. 
St. Charles of Borromeo, kneeling before the Virgin 
_and Infant. 1612. 
Six of Children, for ceilings; dedicated to Cardinal 
Visconti. 1607. 


SUBJECTS FROM THE DESIGNS OF VARIOUS MASTERS. 


St. Susannah resting against a pedestal, with a sword. 

The Crucifixion; after Michelangelo. 

ve, > ssi meditating on the Crucifix; after the same. 

St. Andrew bearing his Cross; after the same. 1580. 

Two other figures, from the Last Judgment ; after the 
same. 1591. 

Charon, with two other figures; after the same. 1575. 

ore ane devoured by the Vulture ; after the same. 

The famous Pieta, sculptured by Michelangelo. 

Three—The Creation; Adam and Eve driven out of 
Paradise ; and the same, subjected to labour; Poli- 

- dorus de Caravaggio, invent. 

The Death of the Children of Niobe, in five sheets a 
frieze ; after the same. 

The Rape of the Sabines, another frieze ; from the same. 

The Triumph of Camillus ; in the style of the antique. 

Pluto holding a torch. 

Fortune standing on a shell. ; 

The Presentation ; after Raphael. 

The Resurrection, a grand composition; after the same. 

The Holy Family; after Raphael. 1582. 

Jupiter and Ganymede; after the same. 1580. 

The Graces and Venus leaving Juno and Ceres; after 
Raphael. 1582. 

The Adoration of the Magi; after I7 Rosso. 1574. 

The Transfiguration ; after the same. 

Christ praying on the Mount ; after the same. 

The Stoning of Stephen; after the same. 

A piece of architecture ; after the same, in two prints. 
Roma, 1575. 

The Baptism of our Saviour, by St. John; after A. del 
Sarto. 1574. 

The Miracle of St. Philip Benizzo; after A. del Sarto. 
Very fine. 

Tobit and the Angel; after Tibaldi. 1575. 

Christ praying in the Garden; after Perino del Vaga. 

The Adoration of the Shepherds; after Tad. Zucchero 
in two sheets. 1575. 

The Holy Family; after the same. 

The Scourging of Christ ; after the same. 

The Conversion of St. Paul; after Tad. Zucchero. 

The Assumption of the Virgin; after the same. 

Another Assumption; after Fed. Zucchero. 

The Coronation of the Virgin; after the same. 1572. 


ALBERTI, Durante, called ‘Del Nero,’ son of 
Romano I. Alberti, was born at Borgo San Sepolcro 
in 1538; and, according to Baglioni, visited Rome 
when young, during the pontificate of Gregory 
XIII. It was not long before he distinguished him- 
self by painting several pictures for the churches 
and other public edifices. In the church of San 
Girolamo della Carita, one of the chapels was en- 
tirely painted by him in fresco, and there was an 
altar-piece in oil by him, representing the Virgin 
and Infant Jesus, with St. Bartolommeo and St. 
Alessandro. In Santa Maria de’ Monti, he painted 
the ‘Annunciation.’ Several other churches at 


Rome possess works of this eminent artist. a 


1574. 


died in 1613, and was buried with great distinction 
in the Chiesa del Popolo, attended by all the prin- 
cipal artists in Rome. His portrait is in the Aca- 
demy of St. Luke. He had a brother Cosimo, a 
sculptor, engraver, and painter, who died in Rome 
in 1596. | 

ALBERTI, Giovanni, brother of Cherubino 
Alberti, and third son of Alberto, was born at Borgo 
San Sepolcro, in 1558. He visited Rome in the 
time of Gregory XIII., and was employed by that 
pontiff in the papal palace on Monte Cavallo, and 
in the Vatican. He excelled in painting land- 
scapes and perspective, in which the figures were 
usually painted by Cherubino, He was also em- 
ployed by Clement VIII, to paint the sacristy of 
- San Giovanni in Laterano, and, in conjunction with 
his brothers, to decorate the Sala Clementina in 
the Vatican. For this work, which was commenced 
in 1595 and completed in 1598, the two painters 
(Alessandro had died during the course of execu- 
tion) received 3050 scudi. Giovanni Alberti 
also laboured in his native town, in Mantua, Pe- 
rugia, Florence, and elsewhere. He died at Rome 
in 1601. His portrait is in the Academy of St. 
Luke, and another in the Uffizi at Florence. 

ALBERTI, Giuseppe, who was born at Cavalese, 
in the Tyrol, in 1664, after having studied medi- 
cine at Padua determined to become a painter and 
architect. He worked under Liberi at Venice, 
and further improved himself by study at Rome, 
and then settled at Trieste, where he executed a 
number of religious pictures, which may now be 
seen in Trent, Cavalese, and other towns in the 
Tyrol. He also worked in Italy, to which country 
he paid a second visit. He founded a good school 
of painters in hisowntown. Alberti died at Cava- 
lese in 1730. His ‘Martyrdom of St. Simon of 
Trent,’ formerly in the castle of Trent, now in the 
Ferdinandeum at Innsbruck, is his best known 
work, 

ALBERTI, Jean Evekne CHARLES, who was 
born, at Amsterdam in 1781, studied first in that 
city, then at Paris under David, and afterwards at 
Rome, where he copied the works of Guido and 
Van Dijck. He subsequently returned and settled 
in Paris. The date of his death is not recorded. 
‘Marius among the Ruins of Carthage,’ painted in 
1805, gained him a gold medal. Alberti engraved 
both from his own works and from those of the 
Italian masters. 

ALBERTI, MicHELE, a painter of Florence, 
flourished in the latter half of the 16th century. 
He was a disciple of Daniello Ricciarelli, called 
‘Da Volterra,’ and was a reputable painter of 
history. His principal work is a picture in the 
church of the Trinita dei Monti, at Rome, 
representing the ‘Murder of the Innocents,’ 
much spoiled by restoration. Michele Alberti 
has, by Orlandi, been erroneously recorded as a 
member of the family of Alberti of Borgo San 
Sepolcro. 

ALBERTI, Pierro Francesco. This artist, 
the son of Durante Alberti, was born in 1584. ® 
He painted historical subjects in the style of 
his father, and has left works in Rome and in his 
birthplace. He was the designer and engraver 
of a plate called ‘ Accademia de’ Pittori,’ a large 
print lengthways; a composition of many figures, 
etched with great spirit, and evidently the work 
of a painter. In Meyer’s ‘ Kinstler-Lexikon’ ten 
engravings are mentioned by him. He died in 
1638 at Rome. 

14 


the design and the chiaroscuro of his pictures, _ 


. 
"* 


.% 
a ye 


4 


NIBY OF ee 


ALBERTINELLI, Manzrorro, the son 
of Biagio di Bindo Albertinelli, was born = 
at Florence in 1474. He was apprenticed, |. 
when young, to Cosimo Rosselli, in whose , 

studio he was a fellow-pupil with Fra — 
Bartolommeo. In the year 1509 they 
entered into partnership, and painted ‘ 
conjointly many works, some of which bear the © 
monogram of a cross with two interlaced rings. — 
When Fra Bartolommeo retired into monastic — 
seclusion, his friend and partner finished several — 
of his uncompleted works. But they again painted — 
together from 1510 to 1513, It isrelated by Vasari, 
that Albertinelli, at one time, being enraged — 
some criticisms which were made on his painting, — 
abandoned the brush and opened a public-house ; — 
it is certain, however, that he returned to his art — 
again. He died at Florence in 1515, on his return _ 
from a journey to Rome. In painting he resembled 
Fra Bartolommeo as closely as one artist ever 
resembled another. He is much to be admired for _ 


a 


The following are some of his best works: == 


Bergamo. Lochis. Crucifixion. aa % a 
9 Morelli. St. John and the Magdalen. me 
Berlin. Jfusewm. Assumption (part by Fra Bartolom- 


om i 
oad 


med). 
CambridgeFitzwilliamVirgin with Christ and John the __ 

Mus. Baptist (scgned and dated 1509). 
Florence. Accademia. Annunciation (signed and dated 


Holy Trinity. 1510 (?). Pe 
Crucifixion (signed and dated 1506). 
Marriage of St. Catherine. 1512 
(part by Fra Bartolommeo). 
ee S. Maria. Last Judgment. Fresco (commenced 


3”? 9? 
= Certosa. 


5p nu ee ea, 


Nuova. by Fra Bartolommeo—the part.by 
Albertinellt is nearly destroyed), = 
mi Uffizt. Visitation of the Virgin (his master- 
piece). 1503. aes 
Paris, Louvre. Madonna and Child (szgned and 
dated 1506), formerly in Santa 
Trinita, Florence. * . 
rs . ChristappearingtoMaryMagdalene, 
Pisa. &. Catarina. Madonna and Child (part by Fra 
Bartolommeo), ae 
Siena. Gallery. St. Catharine. 
ae - The Magdalen. 
Volterra. Duomo. Annunciation. 


ALBERTOLLI, Gioconno, the most famousofa 
family of artists, was born—according to Meyer’s 
‘Kinstler-Lexikon’—at Bedano, in 1742. He 
studied at Parma under a sculptor, and also in the 
Academy, and at Rome from the antique; and 
soon became famous for his ornamental architec- 
tural decorations. He was elected, in 1776, pro- 
fessor of ornament to the Milan Academy, but he 
resigned the post in 1812 on account of failing 
eyesight. In 1809 Napoleon made him a Knight 
of the Iron Crown. Albertolli was much em- 
ployed in decorating palaces, churches, and public 
buildings in Italy, and gave a new impetus to the 
art of ornamental design in that country. His 
paintings are scarce. A ‘Madonna and Child’ by 
him is in the church of St. Roch, at Milan, in 
which city he died in 1840, aged 98. 

ALBERTOLLI, Rarraztto, a pupil of his father 
Giocondo, distinguished himself as an engraver in 
mezzotinto and etching, and executed many por- 
traits of eminent persons. He was born in 1770, 
and died at Milan in 1812. 

ALBERTONI, Paoto, a follower of Carlo Ma- 
ratti, painted in his style; he died soon after 
1695. There are pictures by him in the church 
of San Carlo in the Corso, in Santa Maria, in the 


gn \ Sas ee ee ers Ae 2 Oe 2 oP ee 

‘ co Mey mote 2%, > ,; 

I Os is ES cane ae Cay pee ae 
io 4 + | ie ie : A aa 


Campo Marzo, Santa Marta, and other churches in 

Rome. 

_ ALBERTUS, Hans CuristorH, was a native of 
_ Dresden, and studied there from 1611 to 1622 with 
_ agoldsmith, We have by him a portrait of Johann 
_ Seckendorff, rector and professor at Zwickau, en- 
_ graved from a picture painted by himself, which 
' is considered a fine work of art. He died in 
1680. . 

ALBIN, Exzazar, a German, whose family 

- mame was Weiss, published several works on 

' natural history in London between 1720 and 1738. 
His ‘Natural History of Birds’ included 306 
_ plates of birds drawn from life. He died, it is 

believed, about 1740. In the Gallery at Cassel 
there is a ‘ Rich Man and Lazarus’ by him. 

ALBINI, ALEssANDRO, was born in 1568. Ac- 
_ cording to Malvasia, this painter was a native of 

Bologna, and a distinguished disciple of the school 
of the Carracci. He acquired great reputation by 
some designs he made for the funeral ceremony of 
Agostino Carracci. In the church of San Michele 
in Bosco, at Bologna, he painted a picture of ‘ the 
Sepulture of St. Valerian and St. Tibertius;’ and 

one of St. Peter, St. Catherine, St. Agnes, and St. 

Cecilia, in San Pietro Martyro. He died in 1646. 

He painted chiefly in Bologna and the vicinity. 

_ Massini tells us that he also painted in Rome. 

; ALBONI, Paoto (called by Oretti Paoto An- 
TONIO), was a Bolognese landscape painter. He 
was born in 1671 (some say 1650). After practis- 
ing some time in Rome and Naples, he went in 
1710 to Vienna, where he remained nearly thirteen 
years, but being deprived of the use of his right 
side by an attack of paralysis, he returned to 
Bologna; he subsequently painted with his left 
hand. He imitated the style of Ruisdael and 
other Dutch masters; but his later pictures are 
inferior to his earlier productions. He died in 
1734. He had a daughter, Luicia Maria Rosa, 
who also distinguished herself as a landscape 
painter. She died in 1759. 

ALBORESI, Giacomo, a Bolognese painter, who 
was born in 1632, was a scholar of Domenico Santi 
and Agostino Metelli. He painted historical subjects, 
but was more celebrated for his pictures of archi- 
tectural views. He worked chiefly in fresco, and 
in conjunction with Fulgenzio Mondini, painted for 
the church of San Petronio, at Bologna, the ‘ Death 
and Canonization of St. Anthony of Padua.’ In 
the church of San Giacomo Maggiore, he painted 
some subjects of perspective, in which the figures 
were by Bartolommeo Passarotti. He died at 
Bologna in 1677. He also worked in conjunction 
with Antonio Maria Pasio, in the cathedral at 
Florence. 

ALBORN. See AHLBORN. 

ALBRECHT, BautrHasar AUGUSTIN, who was 
born at Berg, near Aufkirchen in Bavaria, in 1687, 
was a pupil of Nikolaus Gottfried Stuber, and 
studied in Venice and Rome. On his return to his 

_ native country in 1719, he became popular as an 

historical painter, and was appointed court-painter 

and inspector of the Picture Gallery at Munich, 
where he died in 1765. The churches and galleries 
of Bavaria possess many paintings by him, 

ALBRECHT, C., an obscure German engraver, 
of Berlin, mentioned by Heineken. He worked 
only for the booksellers, and his plates are so 
indifferent, that they are not considered by that 
author worthy of being specified. 

ALBRIZZI. See ALBERICI. 


PAINTERS AND ENGRAVERS. 


ALCAZAR. See PareT Y ALCAZAR. 

ALDE, H. van. See ALDEWERELD. 

ALDEGREVER, Hutnricu (or ALDE Graver). 
This celebrated artist was born in 1502, in 
Westphalia, probably at Pader born, where taNs 
his parents resided, but he lived chiefly 
at Soest. Albert Rosenberg, the latest German 
writer on the ‘ Little Masters,’ considers he never 
was a pupil of Diirer, nor ever even visited 
Nuremberg, though Van Mander reports that he 
painted two wings for an altar-piece in a church 
there. His works show, however, that he was much 
influenced by Diirer’s practice, and also by that of 
Barthel Beham and Georg Pencz. On his return 
to his own country, he applied himself at first 
entirely to painting; and, according to Fissli, 
painted some pictures for the churches and con- 
vents, which have not been identified. 
_ The following is a list of his few known paint- 
ings: 


Berlin. Museum 
Breslau. Art Club. 


Portrait of Engelbert Therlaen. 
1551. 

Portrait of Count Philipp of Wal- 
deck (dated 1535). 

Portrait of Magdalena Wittig. 
1541. 

Prague. Museum. Christ sitting on his tomb. 1529. 

Vienna. Liechtenstein Portrait of a young man (dated 

Gallery. 1544; perhaps his best). 


Brunswick. Museum. 


After a few years he devoted himself entirely 
to engraving, and in that branch acquired a dis- 
tinguished reputation amongst those artists who 
are called the Little Masters, from their having 
generally engraved plates of a small size. He 
died, it is supposed, at Soest, in 1558. His execu- 
tion is uncommonly neat; he worked entirely 
with the graver, in a style that is evidently 
founded on that of Albrecht Diirer, and his plates 
are finished with great precision. and delicacy 
His design was full of invention, and his drawing 
shows more of the Italian Renaissance influence, 
than that of many contemporary German artists. 
He usually marked his plates with the cipher given 
above. His engravings are very numerous, exceed- 
ing three hundred. They bear dates from 1522 
to 1555, the latest authentic date on any of his 
works. The following is as general a list of 
them as the nature of this work will admit, and 
comprises all his principal plates: for fuller in- 
formation the inquirer is referred to the minute 
descriptions to be found in Heineken, Bartsch’s 
‘Peintre Graveur,’ and Meyer’s ‘ Kiinstler- 
Lexikon.’ 

PORTRAITS. 


Aldegrever, without a beard ; -A/degrevers. 
1530. 

The same, with a thick beard. Anno 1537. Xtatis 
suze 15. 

Bust of Martin Luther. 1540. 

Bust of Philip Melancthon. 1540. 

Albert von der Helle. 1538. 

Wilhelm, Herzog von Jiilich. 1540. ; 

Johann van Leyden, chief of the Anabaptists. 

Bernhard Knipperdollinck, the fanatic. 


VARIOUS SUBJECTS. 


Six—Of Adam and Eve driven out of Paradise. 
Four—Of the History of Lot. 1555. 
Four—Of the History of Joseph and his Brethren. 1532. 
Seven—Of the History of Thamar and Absalom. 1540. 
David and Bathsheba. 1532. 

The Judgment of Solomon. 1555. 

Judith with the Head of Holofernes. 1528. 
Four—Of the History of Susannah. 1505. 


Aatatis 28. 


1540. 


15 


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a) JAF “4 oe, &* as na 
=. ees nike ae See ie Apes 
' ; hk he ee 


‘A BIOGRAPHICAL DICTIONARY OF — 


Four—Of the Parable of the good Samaritan. 1554. 

Five—Of the Rich Man and Lazarus. 1554. 

The Four Evangelists. 1539. 

The Adoration of the Shepherds. 1553. 

The Virgin and Infant, reposing under a tree. 1527. 

The Virgin carrying the Infant Jesus, with a standard. 
1552. ; 

Medea and Jason. 1529. ‘ 

Romulus and Remus taken from their mother, 
Sylvia. ‘ 

Tarquin and Lucretia. 1539. 

Sophonisba taking the Poison. 1553. 

Marcus Curtius about to leap into the Gulf. 1532. 

Mutius Scevola before Porsena. 1530. 

Titus Manlius ordering his Son to be decapitated. 1553. 
It is curious to observe that in this print, as well 
as in one of the same subject by Georg Pencz, the 
instrument of execution resembles the guillotine used 
in France during the Revolution. y 

The Count d@’Archambaud destroying his Son before his 
Death; inscribed Pater ne post suam mortem, §c. 
1553. 

Hector in Combat; small frieze. 1532. 

The Battle of Hannibal and Scipio. 1538. 

Seven—The Divinities that preside over the Planets. 


Rhea 


553. 

Thirteen—The Labours of Hercules; fine, and scarce. 
1550. 

Orpheus and Eurydice ; the only etching by this master ; 
very scarce. 1528. 

Fourteen small plates of different allegorical subjects. 
1549 and 1550. 

Seven—Of the Virtues. 1552. 

Seven—Of the Vices. 1552. 

Eight— Of the Empire of Death over Humanity. 1641. 

Twelve—Of the Procession of a Westphalian Wedding. 
1538. 

Eight—Of a similar subject. 1551. 

Six—Of Death dragging away persons of both sexes. 
1562. 

A Woman holding an hour-glass, with a skull and a 
globe, on which is inscribed Respice finem, 1529. 

A Woman with wings, standing on a globe, holding the 
symbols of prudence and temperance. 1555. 

An Officer carrying a flag. 1540. 

A Man with a sword, surprising a monk and a nun. 
Dated 1530. Very rare. 

Monk and Nun. 1532. 

The Society of Anabaptists, with a number of figures in 
a bath. This is engraved by Virgil Solis after Alde- 
grever. 


Also three sets of wedding processions, one 
of twelve prints, the others of eight each; and 
ninety-nine beautiful vignettes, and other orna- 
ments. These last connect him with the gold- 
smith’s art. A good collection of his engravings 
may be seen in the Print Room at the British 
Museum. " W. B.S. 

ALDENRATH, Heryricu Jaxon, who was born 
at Liibeck in 1775,-. was a portrait painter, a 
miniaturist, and a lithographer. He received in- 
struction from Johann Jakob Tischbein and from 
Friedrich Karl Gréger, with whom he commenced 
a friendship which was only severed by Gréger’s 
death in 1838. Together they visited the Academies 
of Berlin, Dresden, and Paris; and after sojourns 
in Liibeck, Kiel, and Copenhagen, they finally 
settled at Hamburg in 1814, and became cele- 
brated as portrait painters. Aldenrath died in 
Hamburg in 1844, It is said that he painted the 
portrait of the King of Denmark no less than 
thirteen times. Among his lithographs may be 
mentioned the following : : 


His own Portrait. 

Portrait of Friedrich Karl Gréger. 
Portrait of Klopstock, the poet. 

Portrait of Count Stolberg, the poet. 
Portrait of Adolphus, Duke of Cambridge. 


AUDEN ERE H. van, a Dutch painter, who 


Pe we ee i), ape 
oo, ws ae bal? 
a4 = + eis et ety ~ - sills’ ¢ 


flourished at Amsterdam about the middle of the - 


17th century, was chiefly engaged in painting 
portraits, 

several of 
sionally painted genre pictures. 


which have been engraved. He occa- 


addition of a sketch of a world, which was over- 
looked. . 
ALDIGHIERO pa ZEVIO. 
DA ZEVIO. Rees 
ALDIVERTI, Atronso, the son of a notary, 
flourished in the early part of the 17th century at 


See ALTICHIERO 


Rovigo. He painted in the church of Santa Maria — q 


della Neve, scenes from the Life of Christ. The 


‘Christ Condemned’ is signed and dated 1615. ; 


Bartoli says of these works, that they are painted 
in an antique style, and remind one of Direr’s 
engravings. He also painted a ‘St. Charles Bor- 
romeo,’ in San Bartolommeo, in Rovigo. 
ALDROVANDINI, Pompso, son of Mauro, and 


cousin and pupil of Tommaso, was born at q 


Bologna in 1677. He was employed much in 


the churches, palaces, and theatres of Dresden, - 


Prague, and Vienna, and executed many excellent 
works in oil, in fresco, and in distemper. He 
died at Rome in 1735. 

ALDROVANDINI, Tommaso, the son of Giu- 
seppe Aldrovandini, an architectural painter, was 
born at Bolognain 1653. He was instructed in the 
first principles of design by his uncle Mauro Aldro- 
vandini, an eminent painter of the same subject. 
Tommaso’s talent lay in painting perspective views 
and architectural subjects, in which the figures 


were painted by Marc Antonio Franceschini and : 


Carlo Cignani, to whose pictures he in return 


painted architectural backgrounds; he also studied — 


figure painting under Cignani. He decorated 
churches, palaces, and theatres in many of the 
principal cities of Italy—Forli, Verona, Venice, 
Parma, Turin, Ferrara, and Genoa, and especially 
in his native Bologna. His most considerable 


work was the Council Chamber of the Ducal — 


Palace at Genoa, which he executed in conjunc- 
tion with Franceschini; it has since been de- 
stroyed by fire. He died in 1736. 


generally of celebrated personages, — ; 


He is frequently 
called in error, H. van Alde, because he was accus- 
tomed to sign his name H. van Alde, with the 


ALE, Ginues (or. HAuuet), of Liege, flourished 


in the latter half of the 17th century, and was 
distinguished for the purity of his style, accord- 
ing to the principles of the Roman school. He 
painted in conjunction with Morandi, Bonatti, and 
Romanelli; and executed an altar-piece in oil, and 
the ceilings of the chapels in fresco, for the 
church of Santa Maria dell’ Anima in Rome. He 
died in 1689. Most of the paintings by him in 
Liege were destroyed when the French bom- 
barded that town in 1691. 

ALEFOUNDER, Joan, a student of the Royal 
Academy Schools, practised for some time in 
London the art of portraiture, occasionally in 
miniature. He subsequently went to India, and 
died in 1795 at Calcutta, from the effects of the 
climate. In 1784 Bartolozzi engraved the portrait 
of ‘Peter the Wild Boy,’ after him, and in the 
same year Hodges engraved his portrait of J. 
Edwin the Actor. . 

ALEKSYEEV, Fropor JAKOVLEVICH, ‘the 
Russian Canaletto,’ was born at St. Petersburg in 
1757. After he had received an education in the 
Academy of his native city he went to Venice for 
the improvement of his art. On his return to 
Russia, he rose to great fame as a painter of archi- 


PIETRO ALEMANNO 


x 


ee ee 


[ Ascoli 


ALTARPIECE 


1489 


’ i 
4, 


= 


- 


es - ‘ 
tectural views, and was much employed by the 


emperor and nobility of Russia to decorate their 


el ces. 


He died in St. Petersburg in 1824. The 


_ Hermitage possesses good examples of his views 


of Moscow, which are considered his best pro- 
ductions. 
ALEMANI, Gartano (or ALAMANNI), a painter 


___ of Bologna—who distinguished himself in various 


styles, particularly in architectural and ornamental 


es _ painting for the decoration of churches and theatres 


SE SRL NA Ie 
Pw 4 4 ? ‘ fi “arn 


_ —flourished in the latter half of the 18th century. 


He died in 1782. 


_ ALEMANNO, Giovanni (or ALAMANNUS), was 
also called GIovANNI DA Murano (one of the 


Venetian Isles). He is supposed from the former 
name to have been a German. He worked in 
conjunction with Antonio da Murano. Between 


them they executed two pictures now in the 


Academy at Venice ; a ‘ Coronation of the Virgin,’ 


signed and dated, Joanes eT ANTONIUS DE Murt- 
_ ANO F., MCCOCXXxx., and a ‘Madonna and Child 


enthroned,’ signed and dated 1446, JOHANNES 
ALAMANNUS ANTONIUS DA MuriaANo Fr. Several 


_ pictures by them are still in the chapel of San 


Tarasio in San Zaccaria at Venice. Alemanno is 
known to have painted from 1440 till 1447, after 
which year there is no record of him. 
ALEMANNO, Justus pD’ (or ALLAMAGNA), a 
German painter, who practised at Genoa in the 
15th century. He painted in fresco an ‘Annunci- 
ation’ in a cloister of Santa Maria di Castello, in 


_1451; Lanzi considers it a precious picture of its 
sort, finished in the manner of the miniaturists, 


and apparently the precursor of the style of 
Albrecht Direr. Justus d’Alemanno is not the 
same as Justus of Ghent, as some writers have 
supposed. beak 

ALEMANNO, Pr=tr0, a painter of Ascoli in the 


latter part of the 15tb century, was a pupil of Carlo 


Crivelli. Several of the churches of Ascoli possess 
paintings by him, but they show little ability either 
in drawing or colour. The church of Santa Maria 
della Carita has an altar-piece by him dated 1489, 
representing the ‘ Virgin and Child between SS. 
Michael, Blaise, Jerome, and Nicholas;’ and in the 
collection of the late Mr. Barker of London was a 
‘Virgin and Child, enthroned.’ No exact inform- 
ation can be given of the dates of his birth or 
death. 

_ ALEMANS. See HALLEMANS. 

ALEN, Jan vay, a Dutch painter, was born 
at Amsterdam in 1651. He was an imitator of 
Melchior Hondekoeter, and his pictures, like those 
of that master, represent fowls, landscapes, and 
still-life. Though inferior to Hondekoeter, he 
painted those objects with great fidelity. He 
also imitated other masters of the period with so 
much success that his copies have often passed 
for originals, He died in 1698. 

ALENI, Tommaso Dg, called In FapINo, was 
born at Cremona, and, according to Orlandi, was 
a disciple of Galeazzo Campi. He was also 
influenced by the works of Perugino. He painted 
history in the style of his instructor, and his works 
in San Domenico, at Cremona, where he was em- 
ployed with Campi, are so much in the manner of 
that master that it is difficult to distinguish them. 
Neither the date of Aleni’s birth nor that of his 
death is known. Orlandi says he was born in 
1500, but a picture signed by him bears that date. 
It is a ‘Madonna and Child with Saints,’ in the 
Bignani Collection, Castel Maggiore. Another, a 

9) 


‘Nativity,’ signed and dated 1515, formerly in 
the church of San Domenico, is in the town-hall 
of Cremona, 

ALENZA, LrEonarDo, a Spanish painter and 
etcher, was born at Madrid in 1807. He studied 
art under Juan Rivera and José de Madrazo, and 
became a good portrait painter, but was more 
especially famous for his pictures of the habits of 
the lower classes. He became a member of the 
Academy of Madrid in 1842; and died there three 
years later. 

ALEOTTI, Anronio, a Ferrarese painter, who 
flourished at the end of the 15th century, was a 
native of Argenta. He is probably identical with 
Antonio dall’ Argento, who lived in 1495, and 
painted the frescoes in the Chiesa della Morte in 
Ferrara. 

ALESIO, Marreo PEREz DE, called by Baglione 
MarTreo DA Leccio. This painter was born in 
1547, and studied under Michelangelo. He was 
a Roman by birth, but he is chiefly known by 
the works he executed in Spain, whither, in 
1583, he had been induced to migrate by the 
liberal protection bestowed on art by Philip 
II. It does not, however, appear that he went 
thither by the invitation of the king, or that he 
was employed by that monarch in the Escurial. 
His principal works are his fresco paintings in 
the churches at Seville. His manner of designing 
partakes of the grandeur of Michelangelo. The 
most remarkable performance of Alesio is a 
colossal picture, painted in fresco, in 1584, in 
the cathedral at Seville, representing St. Chris- 
topher carrying the Infant Saviour on his shoulder. 
It is of prodigious dimensions, the figure of St. 
Christopher being nearly forty feet high. Palo- 
mino speaks of this enormous production in very 
high terms. He painted in 1587 the same sub- 
ject for the church of San Miguel, and he also 
painted in other public edifices at Seville. After 
residing some years in Spain, he is said to have 
quitted it on account of the preference given to 
the works of Luis de Vargas, whose superiority 
the candour of Alesio induced him to be one of 
the first toacknowledge. Palomino says that Alesio 
returned to Rome and died there about the year 
1600. Baglione, on the other hand, tells us that, 
after having acquired great riches in the West 
Indies, he died there in poverty. 

ALESSANDRI, IynoceEnreE, an Italian engraver, 
was born at Venice about the year 1740, and was 
instructed by F. Bartolozzi, before that artist left 
Italy. He has executed several prints in line, 
aquatint, and chalk, among which are the fol- 
lowing : 


Four prints, representing Astronomy, Geometry, Music, 
and Painting; after Domenico Maggiotto. 

The Virgin Mary, with the guardian angel and the 
souls in Purgatory; after Seb. Ricet. 

The Virgin Mary with a glory of angels; after Piaz- 
zetta. 

The Annunciation; after F. le Moine. 

The Flight into Egypt; after the same. 

Two Landscapes; after Marco Ricci. 

Two series of Twelve Landscapes; after the same. 


ALESSANDRINO. See Maanasco, ALESSANDRO. 
ALESSANDRO and JULIO, two painters of 
Italian origin, of whom little is known, were sup- 
posed to have been brothers and fellow-pupils 
under Giovanni da Udine. In the early part of 
the 16th century, they painted in the Alhambra, 


Granada, and elsewhere in Spain, frescoes in ee 
1 


manner of Raphael, which had much influence on 
the style of art in Andalusia. 

ALESSON. See EKEMANN-ALESSON. 

ALEWIJN, Jan, an amateur painter, who made 
many drawings after the pictures of the old masters. 
He resided at Amsterdam and at Utrecht, where 
he died in 1839. He had a son named Dirk, a 
landscape painter, who was born at Amsterdam in 
1800, and died there in 1842. 

ALEXANDER, Joun. This painter and etcher, 
a descendant of George Jamesone, was a native 
of Scotland. He went to Italy and studied in 
Florence ; he practised engraving at Rome about 
the year 1718. His prints are slight etchings, prin- 
cipally after Raphael, not very correctly drawn, 
and but very indifferently executed. He returned 
to Scotland in 1720, and painted several historical 
pictures. On the staircase of Gordon Castle is 
the ‘ Rape of Proserpine’ by him. Alexander died 
about the middle of the 18th century. He en- 
graved a portrait of George Jamesone, and six 
plates after the frescoes of Raphael in the Vatican. 

ALEXANDER, WituiamM, an Engliso water- 
colour draughtsman, was born at Maidstone in 
1767. He accompanied Lord Macartney to China, 
and made drawings of the scenery and customs 
of that country to illustrate Sir George Staunton’s 
‘Historical Account of the Embassy.’ He also 
published a work on the Costume of China, and 
another on the Punishments of China. In 1802 
he was made teacher of drawing at the Royal. 
Military College at Great Marlow ; and afterwards, 
in 1808, assistant-keeper of the antiquities in the 
British Museum, in which capacity he had charge 
of the collection of prints and drawings. He like- 
wise made the drawings for the earlier volumes of 
the ‘Descriptions of Ancient Marbles and Terra- 
cottas in the British Museum.’ His designs for 
Britton’s ‘ Architectural Antiquities,’ and other 
publications, show considerable talent. Several 
of his water-colour drawings may be seen in the 
South Kensington Museum. He died in 1816. 

ALEXEIEFF. See ALEKSYEEY. 

ALFANI, Domenico (pI Pagis), a native of Pe- 
rugia, and scholar of Perugino, was born, according 
to Pascoli, in 1483; but all we know for certain is 
that his birth took place in the last quarter of the 
15th century. The earliest work known by him 
is a ‘Madonna and Child with SS. Gregory and 
Nicholas,’ dated 1518, in the Collegio Gregoriano, 
at Perugia. His works beara great resemblance to 
those of Raphael, and, were it not for the delicacy 
of the colouring, they might be assigned to his 
school. His reputation has been somewhat in- 
jured by that of his son Orazio; and even in Pe- 
rugia some fine paintings were long considered to 
be by Orazio, which have since been restored to 
Domenico, ‘The difficulty of discriminating their 
works is increased by their having painted several 
altar-pieces in conjunction ; particularly that at 
the church of the Conventuals at Perugia, which 
is mentioned by Mariotti. ‘A Holy Family’ in the 
tribune of the Uffizi is attributed by some to the 
father, by others to the son. Domenico painted— 
in conjunction with his son—a ‘Crucifixion’ for San 
Francesco at Perugia, in 1553, in which year he 
1s supposed to have died. 

ALFANI, Orazio (pr Paris, or more properly, 
DI DomENIco), was born at Perugia about the year 
1510. He wasa scholar of his father, and studied 
the works of Raphael, whose graceful manner he 


Refs with such success, that some of his best | 


A BIOGRAPHICAL DICTIONARY OF 


pictures have been mistaken for the early 
ductions of that master. Orazio is celebrat 
having been the first president of the Academ 
Perugia, which was founded in 1573. He died ; 
Rome in 1583. A ‘Holy Family,’ said to be b 
him, is in the Uffizi, and there is in the Louvre 
‘Marriage of St. Catherine,’ dated 1548, which 
attributed to him. eal 

ALFARO, Arteaga y. See ARTEAGA. 

ALFARO y GOMEZ, Juan Dk, a Spanish painte 
was born at Cordova, in 1640. He was first 
scholar of Antonio del Castillo, but finished his 
studies at Madrid under Velazquez, whose manner 
he followed, particularly in his portraits. He 
knew very little of design, but was a good colour- 
ist, having been employed by Velazquez in copy- 
ing the works of Titian, Rubens, and Van Dijck. 
In the church of the Carmelites is a fine picture, 
by Alfaro, of the ‘Incarnation ;’ and in the church 
of the Imperial College at Madrid is his celebrated 
picture of the ‘Guardian Angel.’ Palominorelates _ 
a story which proves that he possessed more vanity _ 
than skill. Being employed to paint subjectsfrom __ 
the life of St. Francis for the cloister of theconvent __ 
of that name, he took them from prints, but had 
the folly to put to each of them Alfaro pinxit. _ 
His first master, Castillo, to chastise his vanity, 
obtained permission to paint one, and placed at — 
the bottom non pinait Alfaro, which passed into 
a proverb. He was fond of travelling, was well 
versed in literature, wrote poetry, and some inter- 
esting notes on the lives of Becerra, Cespedes,and  __ 
Velazquez. He painted the portrait of Calderon, 
which was placed over the tomb of the poet inthe 
church of San Salvador at Madrid. His conduct 
towards his patron, the Admiral of Castille, has 
left a greater stain on his memory than even his 
vanity. He forsook the admiral when he was 
banished, and meanly solicited his patronage when ., 
recalled: the repulse he received produced melan- 
choly, and caused his death, which took place in 
Madrid in 1680. | 

ALFIANO, Epiranio dD’, a monk of San Salvi, 
at Vallombroso in Tuscany, is mentioned by 
Heinecken as a lover of the arts, who amused him- 
self with engraving. He engraved a set of plates 
of festivals and decorations, dated 1592; and in 
1607 a book of writing, in which he styles himself 
‘ Priore dello Spirito Santo di Firenze.’ 

ALFON, Juan, born at Toledo, painted, in 1418, 
several altar-screens for the cathedral of that city, 
which are still preserved, 

ALFORA, Nicco.d GueLiztmo. This engraver, 
of whom little is known, was a native of Lorraine, 
but resided at Rome. There is a set of twelve 
small upright prints of flowers by him, which, 
although not very delicately executed, are done 
in a masterly style and with great spirit. They 
are inscribed Nicholaus Gulielmus Alfore 
Lotharingus fect, Rome. 

ALGARDI, ALEssanpRo, This eminent artist 
distinguished himself as an architect, sculptor, and 
engraver. He was born at Bologna in 1602, and 
was educated under Giulio Cesare Conventi. As 
an engraver the few plates we have by him are 
executed in a free, bold, and open manner, 
in the style of Agostino Carracci. He died 
in 1654. He generally marked his plates 
with this monogram : . 

The following are attributed to him: 

The Crucifixion ; a large upright plate. 

The Souls delivered from Purgatory; oval. 


A Blind Beggar and his dog; after Carracct. 

The Cries of Bologna, after Annibale Carracci, in eighty 
plates, engraved by Algardi, in conjunction with 
Simon Guillain. 

ALGAROTTI, Conte FRANcEsco, was born at 
Venice in 1712. This eminent writer was con- 
sidered one of the greatest connoisseurs in Europe 

in painting, sculpture, and architecture. He de- 
signed and etched for his amusement several 
groups of heads, one of which, containing thirteen 
heads, in the style of the antique, is dated 1744. 
The best edition of his works on art was published 
at Venice in 1791-94. He died at Pisa in 1764. 

ALGHISI. See Gauassi. 

ALIAMET, Francois-Germatn, younger brother 
of Jean Jacques, was born at Abbeville, in 1734. 
After having learned engraving at Paris, he came 
to London, and worked for some time under Sir 
Robert Strange. His works are considered in- 
ferior to those of his brother. He died in 1790. 
He engraved several portraits, and historical sub- 
jects, of which the following are the principal: 

ey Pritchard, in the character of Hermione; after 

ine. 

The Flattery of the Courtiers of Canute reproved; 

after Pine. 

The Adoration of the Shepherds; after Annibale 

Carracet. 

The Circumcision; after Guido. 

The Annunciation; after Le Moine. 

St. Ignatius kneeling ; after the same. 

The Stoning of Stephen; after Le Sueur. 

_ A Sacrifice to Pan; after A. Sacchi. 
The Surrender of Calais to Edward III.; after Pine. 
~ The Bathers; after Watteau. 

ALIAMET, Jacquss, a clever French engraver, 
was born at Abbeville in 1726. He was a pupil 
of J. P. le Bas, and was first employed in 
vignettes for the booksellers, but he soon attempted 
more important works, and distinguished himself 
by some plates he engraved from the pictures 
of Joseph Vernet. He principally excelled in 
landscapes and sea-pieces, and was one of the 
eight engravers who executed the series of 
‘Batailles de la Chine’ for the Emperor of China 
in the years 1765 to 1774. His style of engravin 
was very neat; he worked with the graver a 
dry point, expressed the various degrees of colour 
well, and carefully avoided any exaggeration of 
shadow. He died in Paris in 1788, The following 
are among his best prints: 

A Landscape, with figures and cattle; after Berchem. 

The Port of Genoa; after the same. 

A Landscape, with a stag-hunt ; after the sam 

The Female Villagers; after the same 

The Village Pleasures ; after the sme. 

The Spanish Halt; after Wouwermun. 

A Guard of Uhlans; after the same. 

The Moon rising; after A. van der Neer. 

A View of Boom, by moonlight; after the same. 

The Amusements of Winter ; after A. van de Velde. 

A Storm ; after Joseph Vernet. 

A Fog; after the same. 

A Fire in a Sea-port by Night ; after the same. 

Two Sea-pieces—The Fishermen, and Return from 

Fishing ; after the same 

Four—The Four Times of the Day ; after the same. 

Two plates of the Witches’ Meetings ; after Teniers. 

The Birth of Venus; after Jeaurat. 

ALIBERTI, Giovanni Caro, a Piedmontese 
painter, was born at Asti, in 1680. It is not stated 
under whom he studied ; but, according to Lanzi, 
he executed several considerable works in fresco 
in the churches of his native city. He painted the 
ceiling of the church of Sant’? Agostino, represent- 
ing that saint taken up into heaven surrounded by 

c2 


PAINTERS AND ENGRAVERS, 


angels ; and in the choir of the same church, a 
picture of St. Augustine baptizing a number of 
children, and other figures. The composition is 
ingenious, with a fine expression in the heads, and 
embellished with architecture. He died about 
the year 1740. His style consists of a mixture 
of Maratti, of Giovanni da San Giovanni, and 
of Correggio ; heads and feet that might be attri- 
buted to Guido or Domenichino; forms peculiar 
to the Carracci, drapery of Paolo Veronese, and 
colours of Guercino. 

ALIBRANDO, GiroLamo, a Sicilian painter, 
called ‘the Raphael of Messina,’ was born in 1470, 
and received his first instruction in the school 
of the Antonj. The fame which Antonello da 
Messina, his countryman, had acquired in Venice, 
induced him to visit that city, and he there re- 
ceived, for a short time, instruction from Anto- 
nello. He also enjoyed the friendship of Gior- 
gione. He afterwards went to Milan, where he 
became a disciple of Leonardo da Vinci. He 
then went to Rome and studied the antique, and 
the works of Raphael; from Rome he went to 
Parma, and thence back to Messina, which town 
possesses his best works, the most important of 
which was a large picture of the ‘ Presentation in 
the Temple,’ painted in 1519, for the Chiesa della 
Candelora. It was in existence in the early part 
of the century, but is now no longer to be found. 
Alibrando died of the plague in 1524 at Messina. 

ALIENSE, L’. See VassILaccuHi. 

ALIGHIERI, Giovanni, a monk who flourished 
in Ferrara about 1195, painted miniatures in the 
codex of Virgil in the possession of the Carmel- 
ites in that city. 

ALIGNY, See CARUELLE D’ ALIGNY. 

ALIPRANDI, MIcHELANGELO, a painter of 
Verona, flourished from about 1560 to 1582. He 
was an imitator, if not a pupil, of Paolo Veronese, 
and executed after the manner of that master an 
altar-piece—the ‘Madonna and Child between St. 
Roch and St. Sebastian’—in the church of SS. 
Nazaro e Celso, at Verona, where it is still pre- 
served, 

ALISAL. See Carano. 

ALIX, JEAN, a French painter and engraver, 
born in Paris in 1615, was a scholar of Phil- 
lippe de Champagne, some of whose paintings 
he engraved in the style of Morin, but as a 
painter we have no account of his works. There 
is an etching by him, of a ‘Holy Family,’ after 
Raphael, executed in a very light and pleasing 
style. 

ALIX, PrIeRRE MICHEL, born at Honfleur, in 
1752, was a scholar of Le Bas. He engraved 
in line and executed in aquatint a set of por- 
traits of eminent men, which were printed in 
colours, as well as a large portrait of Napoleon 
in his coronation robes. He died in Paris in 1817. 
In Meyer’s ‘ Kiinstler-Lexikon’ is a list of 104 of 
his plates—historical pieces and portraits after 
various painters. 

ALKEN,. Henry, a well-known painter and en- 
graver of sporting subjects, published, in 1816, 
‘The Beauties and Defects of the Horse ;’ in 1821, 
‘National Sports of Great Britain,’ with fifty 
coloured plates, and in succeeding years, several 
similar works. He also published in 1849, ‘The 
Art and Practice of Etching,’ and in 1869, ‘ Jor- 
rock’s Jaunts and Jollities.’ 

ALKEN, Samugzt, worked in London as an 


engraver in aquatint towards the close of the ae 


Poe AY Pert Ss ore a oa ed eee 


iat ot oe tad 


i 
io a 


- 


A BIOGRAPHICAL DICTIONARY OF 


century. He chiefly produced illustrations for 
topographical works—such as ‘ Views in Cumber- 
land and Westmoreland,’ in 1796, and ‘ Views in 
North Wales,’ in 1798. rg 
ALLAIS, JEAN ALEXANDRE, the son of artistic 
arents, was born in Paris in 1792. His father, 
Fotis JEAN ALLAIS (1762—1833), was an engraver 
of merit, and his mother, née Briceau, practised the 
same art. Jean-Alexandre studied under David, 
Urbain, Massard, and Fosseyeux, and soon became 
famous for his prints, which were for the most 
part executed in aquatint. He engraved chiefly 
after the works of Schoppin, Jacquand, Fragonard, 
Dubufe, and Leonardo da Vinci. Allais died in 
Paris in 1850. 

ALLAMAGNA. See ALEMANNO, JUSTUS D’. 

ALLAN, Davin, a Scotch painter, was born at 
Alloa, in 1744. He received the rudiments of his art 
in the Academy at Glasgow, founded by Robert and 
Andrew Foulis, the printers. He went to Italy in 
1764, to pursue his studies, and gained in 1773 at 
Rome the prize medal, given by the Academy of 
St. Luke for the best historical composition, by his 
‘Corinthian Maid drawing the shadow of her lover.’ 
He resided there for nearly fourteen years, and 
painted landscapes in the style of Gaspar Poussin. 
He returned in 1777, and supported himself by 
portrait painting in London until 1780, soon after 
which he settled in Edinburgh, where he was made, 
in 1786, master of the Academy. He died near 
Edinburgh in 1796. Allan is sometimes called the 
‘Hogarth of Scotland.’ He made in 1787 four 
humorous drawings of the Sports of the Carnival 
at Rome, which were engraved by Paul Sandby. 
He also designed and engraved a series of illustra- 
tions to Allan Ramsay’s ‘Gentle Shepherd,’ pub- 
lished in 1788, and etched some plates for the 
‘Songs of the Lowlands of Scotland,’ published 
in 1798. David Allan’s portrait, by himself, is in 
the Scottish National Gallery. 

ALLAN, Sir Witiiam, was born in Edinburgh, 
in 1782, and was in the first instance apprenticed 
to a coach painter, but afterwards studied some 
years at the Trustees’ Academy in the above-named 
city, where he was the fellow-student of David 
Wilkie, and John Burnet the engraver. Allan was 
the first of the triumvirate to make his way to Lon- 
don. He began by taking Opie for his model, 
imitating him very closely in a picture, called ‘A 
Gipsy Boy and Ass,’ which was exhibited at the 
Royal Academy in 1805. In this year, disap- 
pointed of the success he had looked for in the 
metropolis, he went to St. Petersburg, where, 
through the kind offices of Sir Alexander Crichton, 
then physician to the imperial family, he met 
with considerable patronage as a portrait painter. 
He afterwards visited the interior of Russia, 
Tartary, and Turkey, where he collected materials 
for many original and characteristic works, which 
he afterwards painted, illustrative of the scenery 
and customs of eastern Europe. In 1809 he sent 
a picture to the Royal Academy called ‘ Russian 
Peasants keeping their Holiday,’ but this did not 
attract much attention ; and he did not again con- 
tribute to the Exhibition for the next six years. 
In 1814 he returned to London, and in 1815 
exhibited his picture of ‘Circassian Captives,’ 
now in the possession of the Earl of Wemyss. 
This was followed by ‘A Circassian Chief selling 
to a Turkish Pasha captives of a neighbouring 
tribe taken in war,’ and others of similar scenes 
ae the artist had witnessed in his travels. 


But these productions did not sell at the time 
(some of them are now in the possession of the 
Emperor of Russia), and the artist was so dis- 
heartened that he talked of retiring to the wilds 
of Circassia, when Sir Walter Scott stepped in, 
and started a lottery of one hundred subscribers 


of ten guineas each for the last-named picture, — = 


which, although the list was not entirely filled, 
put a considerable sum into Allan’s pocket. This 
happy circumstance caused him to alter his views, 
and remain at home, enjoying the patronage of 
such friends as the great novelist introduced to 
him. He now, with tne sole exception of a 
picture of ‘ Tartar Robbers dividing their Spoil,’ 
adopted a class of subjects wholly different from 
those he had attempted before ; as, ‘A Press Gang,’ 
‘The Parting between Prince Charles Stuart and 
Flora Macdonald at Portree,’ and ‘ Jeannie Deans’s 
first Interview with her Father after his return 
from London;’ he, however, still made but little 
progress in public favour, and again he was 
almost giving way to despair, when his sketch of 
‘The Murder of Archbishop Sharp on Magus 
Muir,’ so admirably described in ‘ Old Mortality,’ 
attracted the notice of Sir Walter Scott, who en- | 
couraged him to make a picture of it, which was 
purchased by Mr. Lockhart, and, beingengraved,was 
published with much success. Allan now resolved 
to devote himself entirely to subjects of Scottish 
history; and his next work of consequence was 
‘John Knox admonishing Mary Queen of Scots 
on the day when her intention to marry Darnley 
had been made public,’ exhibited at the Royal 
Academy in 1823, and well known by the fine en- 
graving of it by Burnet. This was followed in 
1824 by ‘Sir Patrick Lindesey of the Byres and 
Lord William Ruthven compelling Mary Queen of 
Scots to sign her abdication,’ and in 1825 by ‘The 
Regent Murray shot by Hamilton of Bothwell- 
haugh,’ which was exhibited at the Royal Academy, 
and bought bythe Duke of Bedford for 800 guineas. 
This picture procured Allan’s election as an Asso- 
ciate of the Academy. The works which next 
followed from his pencil were of unequal merit. 
Amongst the best were, in 1831, ‘ Lord Byron 
reposing in the house of a Turkish Fisherman, 
after swimming across the Hellespont, and a 
‘Portrait of Sir Walter Scott sitting in his study 
reading the proclamation of Mary Queen of Scots 
previously to her marriage with Darnley’ (en- 
graved by Burnet). In 1833 ne produced a 
picture entitled ‘The Orphan,’ and representing 
Anne Scott seated on the floor near her father’s 
chair at Abbotsford. This was bought: by Queen 
Adelaide, and is now in the Royal Collection at 
Buckingham Palace. Allan paid a second visitto the 
Continent in 1830, and in 1834 visited Spain. His — 
picture called ‘The Moorish Love Letter,’ and - 
other characteristic productions now exhibited, 
secured his promotion to the rank of Royal Acade- 
mician in 1835. In 1838 he was chosen to fill the 
presidential chair of the Royal Scottish Academy, 
rendered vacant by the death of George Watson ; 
and in 1841 he succeeded Sir David Wilkie as 
Limner to the Queen for Scotland, an office which 
entitles the holder to the honour of knighthood, 
and a small salary. In 1843 Sir William Allan 
exhibited at the Royal Academy his picture of 
‘The Battle of Waterloo,’ which was purchased 
by the late Duke of Wellington. He exhibited 
another and larger picture of the same subject 
at the Fine Arts competition in Westminster 


Hall in 1843, which, however, to his great dis- 
appointment, found no purchaser. In the former 
picture Napoleon is the principal figure in the 
foreground ; -in the latter the Duke of Welling- 
ton. In 1844 he revisited St. Petersburg, and, 
on his return, painted for the Emperor Nicholas 
a picture of ‘Peter the Great teaching his sub- 
jects the Art of Ship-building,’ which was ex- 
hibited in London in 1845, and is now in the 
Winter Palace at St. Petersburg. Sir William 
died in his painting-room at Edinburgh before a 
large unfinished picture of ‘The Battle of Ban- 
nockburn,’ in 1850. This picture is now in the 
National Gallery of Scotland. Besides his other 
titles, he held those of Honorary Member of the 
Academicians of New York and Philadelphia. His 
excellence as a painter consisted chiefly in con- 
siderable dramatic power in telling a story, and in 
skilful composition. Asa colourist he was deficient. 
In the National Gallery is a single example of his 
pencil, ‘Tartar Robbers dividing their Spoil,’ 
which was painted in 1817 (Loan Collection), and 
which has ee engraved by J. Stewart, and by 
J. T. Smyth. 

ALLARD, Asranam, an engraver and print- 
seller. There are twelve views of the towns of 
Friesland engraved by this artist; and in the 
British Museum is a large print, representing 
the Garden of Love, entitled Het Lust Hof van 
Flora ; partly etched and finished with the graver 


in a stiff, clumsy style, inscribed A. Allart cecinit. 


-C. Allart edit. He lived at Amsterdam towards 
- the close of the 17th and the beginning of the 
18th century. 

ALLARD, CaReEL, an engraver and printseller, 
who executed a number of mezzotint portraits of 
English celebrities, after the paintings of Lely. 
There are in the British Museum four plates of 
‘The Seasons,’ represented in half-length figures, 
executed in a coarse, heavy style, without any 
taste. He flourished at Amsterdam toward the 
close of the 17th, and the beginning of the 18th 
century. 

ALLARD, Hozscu, a Dutch engraver, flourished 
at Amsterdam in the latter part of the 17th century. 
By him we have ‘ The Flight of King James after 
the Battle of the Boyne,’ 1690— Hugo Allard, 
fecit, Carolus Allard, excudit—and some portraits, 
amongst which is that of Adriaan Pauw, one of 
the negotiators of the peace of Miinster. 

ALLARD, Jean Pierre EveEne, a French his- 
torical and portrait painter, was born at Lyons in 
1829. He studied under Flandrin and Jannot, and 
afterwards went to Rome, where he was assassin- 
ated in his studio in 1864. 

ALLEGRAIN, Ertennz, a French landscape 
painter, born in Paris in 1644, painted works which 
were much esteemed. Two landscapes by him are 
in the Louvre—one of which was formerly ascribed 
to Millet—and several, in the manner of Fran- 
cisque Millet, are at Versailles. At the Hermitage 
at St. Petersburg is a ‘Landscape, with the find- 
ing of Moses.’ He died in 1736 in Paris. 

ALLEGRAIN, Gasrizz, born in Paris in 1679, 
son and pupil of Etienne, painted in the manner 
of his father: he died in 1748. He exhibited 
at the Salon from the year 1737 to 1747, missing 
a year occasionally. There are by him at Ver- 
sailles views of the gardens of Versailles, of the 
chateau of St. Germain-en-Laye, and of the 
chateau of Vincennes. 

ALLEGRI, Antonio, commonly called Cor- 


PAINTERS AND ENGRAVERS. 


REGGIO, was born, according to his Italian bio- 
grapher Pungileoni, in the year 1494, in the small 
town of Correggio near Reggio-Emilia. His father, 
Pellegrino Allegri, was a merchant, or tradesman 
in comfortable circumstances, as is proved by his 
having purchased in 1516 a clothier’s business, 
and also by his having farmed for nine years two 
estates for which he paid 150 gold ducats a year. 
His mother, named Bernardina Piazzola, belonged 
to the Ormani or Aromani family, and brought her 
husband a dowry of 100 lire. 

These facts, which have been distinctly ascer- 
tained, prove that Allegri could not have been 
brought up in poverty, nor could he, as was at one 
time supposed, have belonged to a noble family 
of the name of De Allegris, who possessed a castle 
and estates a short distance from Correggio, He 
always, it would appear, lived an easy, comfort- 
able bourgeois life, never, it is true, rising to the 
grandeur and show of some of the other great 
masters of the Renaissance, but on the other hand 
never falling into that dire poverty of which 
Vasari gives such a moving picture. Vasari’s 
narrative indeed, as regards Allegri, has long been 
known to be more than usually inaccurate. He 
possessed little real knowledge concerning the 
distant Lombard master, though he professed a 
great admiration for him as one “ endowed with 
exalted genius,’’ whose works he praised for their 
‘‘attractive grace, charming manner, perfect 
relief, and the exquisite softness of their flesh- 
tints.’’ Nor has modern research, while showing 
the incorrectness of Vasari’s statements, found 
out much concerning the personal history of this 
charming master, who, living far distant from 
Rome and Florence, the great centres of art in the 
16th century, remained unknown to most of his 
renowned contemporaries, and thus probably missed 
the important part that he might otherwise have 
played in the art of his time. 

The ascertained facts of his life, stripped of all 
conjecture and tradition, may be told in a short 
space. His father, Pellegrino, destined him, it is 
said, for a learned profession, but this is not cer- 
tain. At an early age, however, the young Allegri 
showed an inclination towards painting, which 
fact does not appear to have been disputed. 
He had an uncle, named Lorenzo, an indifferent 
painter of Correggio, from whom he probably ac- 
quired the first rudiments of the art ; but after- 
wards there is reason to believe that he studied 
under a master named Antonio Bartolotti, or 
Bartolozzi, called also Tognino degli Ancini, who 
in 1500 was the chief master or Caposcuola in 
Correggio. Bulbarini,in his Memorve Patrie, speaks 
of this painter as having been ‘‘ often assisted by 
his pupil Allegri; ” but Dr. Meyer does not con- 
sider that he gained anything from this master 
‘beyond a certain technical practice in tempera 
painting.” Unfortunately only two of Bartolotti’s 
works are known, and they prove that he had very 
little capacity. i are 

Mengs is of opinion that Allegri studied in 
Modena also, under two masters of some repute— 
Francesco Bianchi, called ‘ Il Fraré,’ and Pelle- 
grino Munari—but there is no historical evidence 
to support this view beyond a passage in Vedri- 
ani’s Pittore Modenesi, which was added by the 
publisher at a later date. Bianchi died in 1510 
when Allegri was only sixteen, so it is not likely 
that he derived much knowledge from him, even 
if we admit that he studied in Modena, ee 


A BIOGRAPHICAL DICTIONARY OF - 


seems unnecessary, considering that an esteemed 
master like Bartolotti was to be found nearer 
me. 

er whoever were his early teachers (and other 
masters besides those named are mentioned), his 
style seems to have been formed chiefly by the 
study of Mantegna. It is supposed that he had an 
opportunity for such study, for it is said he went to 
Mantua in 1511, at a time when the plague was 
raging at Correggio, and resided there for some 
time. Mantegna himself was dead at this time, 
but at the impressionable period of development 
such a revelation as that of Mantegna’s art could 
scarcely fail to have a great influence over the 
style of a youthful artist, and Allegri’s study of 
this master doubtless led to that intimate know- 
ledge of foreshortening and perspective which he 
exhibits with so much daring in his great works. 
Crowe and Cavalcaselle imagine also that he 
‘associated with Lorenzo Costa during his stay in 
Mantua, and derived from him something of his 
love for colour. This certainly could not have 
been gained from Mantegna, whose art is severely 
classic and sculpturesque; but Allegri’s use of 
chiaroscuro, his exquisite modelling, and his 
gracious manner, if we may so call it, bear so 
much closer affinity to Leonardo da Vinci than to 
any other master, that it seems almost impossible 
to doubt that in some way or another he also 
caught inspiration from him. 

However this may be, it is certain that when 
he came back to Correggio, at about the age of 
twenty-three, his fame was sufficiently established 
in his native town for him to receive a commission 
for an important altar-piece. This altar-piece,—his 
first authentic picture,—painted in 1514 for the con- 
vent of San Francesco in Correggio, is now in the 
Dresden Gallery. It represents the Madonna 
enthroned, with St. Francis and other Saints, and is 
distinguished by a more solemn religious feeling 
than is observable in his later works. After 
painting several other altar-pieces and religious 
subjects in Correggio he received a commission 
from the lady abbess of the convent of San 
- Paolo, in Parma, to decorate her nunnery with 
paintings. He accordingly went to Parma in 
1518, and accomplished that lovely series of 
decorative paintings of mythological subjects 
that are now reckoned among his most beautiful 
works, although, strange to say, they remained 
almost unknown for nearly two centuries. 

On his return to Correggio in 1519, after this, his 
first work in Parma, Allegri married a young girl 
of sixteen, named Girolama Francesca, daughter 
of Bartolommeo Merlini de Braghelis, arm-bearer to 
the Marchese of Mantua. She brought her hus- 
band some small fortune, and before this, in the 
same year, 1519, he had received a legacy from 
his maternal uncle, Francesco Ormani, of a house, 
several acres of land, and other property, “in con- 
sideration of important services.” His circum- 
stances therefore could not have been straitened 
at this time, although, owing to lawsuits and other 
causes, he did not at once enter upon the posses- 
sion either of his own or his wife’s property. His 
eldest son, Pomponio, was born on the 3rd of 
September, 1521, in Correggio, the learned anato- 
mist Lombardi standing god-father on the occasion 
of the christening. 

Allegri, from the time when he was first called 
to Parma in 1518, appears to have kept up a 
constant intercourse with that city, and after the 


birth of his’ eldest son he went to reside there 
with his wife, three other children being boin to 


him while in that city. ‘‘We have no trustworthy _ 
account,” says Dr. Meyer, ‘‘of the paintings 


executed by Allegri, partly in Parma and partly _ ¥ 
in Correggio, at this time.’’ They were mostly 
easel pictures, that are now scattered in various __ 


galleries and are extremely difficult to identify, 
numerous false works being attributed to this 
time. Among the genuine ones, however, the 


‘Madonna kneeling in worship before the Divine __ 


Infant,’ in the Uffizi, so well known by means of 
engraving and constant repetition, the ‘ Madonna 


della Cesta,’ in the National Gallery, and the ae . 


‘Zingarella, or Madonna del Coniglio, at Naples, 
are generally thought to belong to this period, 
and to have been suggested by his young wife 
and child. In 1520 Allegri received a commission 
for a far larger work in Parma than any he had 
hitherto done. This was the painting of the 
cupola of the church of San Giovanni, for which 
he entered into a contract with the Benedictines 
of the convent of San Giovanni, signed on 
July 6th, 1520. He did not, however, begin the 
work until about the middle of 1521, and he 
received the last instalment of the sum paid to 
him for it on the 23rd of January, 1524, at which 
date we may conclude that this splendid work was 
quite finished, for in a document still extant, and 
in Allegri’s own writing, he declares himself to 
have received “ full payment for the remainder of 
the works completed in the said church,’’ and to 
be “pleased, satisfied, and fully paid.” The ex-— 
act amount of this ‘full payment’ is somewhat 
difficult to determine, although the various sums 
were found by Pungileoni to have been all 
entered in the convent books. These amount, 
when added up, to 272 ducats, and Dr. Meyer is 
of opinion that Allegri did not receive more than 
this small sum for his paintings in San Giovanni. 
Other authorities make it up to 472 ducats. Some 
of his paintings on the dome of San Giovanni are 
still in existence, but much ruined by damp and 
time. Many portions are scattered in galleries. 
Their subject is the ‘ Ascension of Christ in the 
midst of the Apostles,’ a subject which gives full 
play for the painter’s marvellous powers. The 
masterly foreshortening and sense of movement, 
the brilliancy of the glowing figures, rising as it 
were from a dark background, have called forth 
the admiration of all critics. 

Allegri’s next important work in Parma was the 
painting the dome of the cathedral, for which he 
received the commission in 1522, though he did 
not begin the work till a later date. In the agree- 
ment it is specified that he shall receive 1000 
gold ducats, equal to about £1500 of our present 
money; but numerous difficulties and disagree- 
ments arose between the chapter of the cathe- 
dral and the painter, and, in the end, the latter did 
not finish more than half of the work stipulated, 
nor receive more than half the payment. After 
Allegri’s death, indeed, the cathedral laid claim 
to 140 lire from his heirs on account of some 
unfinished works in the choir. tore 

But although, as it would seem, Allegri failed 
to satisfy the cathedral authorities, his paintings 
in the dome of the cathedral being spoken of 
disparagingly by contemporary critics as a ‘‘ mere 
hash of frogs,” these paintings have been the 
wonder and delight of succeeding generations. 
The subject represented in the great dome is the 


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attitudes and action. 


several bushels of wheat, and a pig.” 


ays Assumption of the Virgin,’ her form being borne 
- upwards on luminous clouds to heaven, whither she 


is preceded by the Archangel Gabriel and a joyous 
choir of angels, all in the most unconstrained 
The Apostles, from below, 
gaze upwards in ecstasy to view the heavenly 
drama, and numerous puttz, or boy angels, flutter 
about, looking as though ‘‘ about to burst open the 
dome, and fly out into the open air.’ The entire 
absence of all religious conventionality, and the 
purely sensuous life exhibited in these paintings, 
show a bold disregard for traditional treatment. 
While he was executing these stupendous monu- 
mental frescoes, Allegri also painted some of his 
most perfect oil paintings. Chief among these 
stand ‘ La Notte,’ or ‘The Night,’ of the Dresden 
Gallery, commissioned by a certain Alberto 
Pratoneri of Reggio, in 1522, for the church of 
San Prospero. This world-famous picture is well 
known, and need not be described. Sir David 
Wilkie, who saw it during his travels in 1826, 
speaks of it as ‘‘ the most original and poetical of. 
all Correggio’s works,” and one which ‘‘ though 


- shorn of its beams from the treatment it has met 


with, is, in its decay, still not less than an arch- 
angel ruined.’’ Since his time it has been re- 
stored in 1827 by Palmaroli, and in 1858 by 
Schirmer, and it is stated by Dr.-Meyer to ‘‘ be 
in good preservation, only the azure tints of the 
high lights having somewhat suffered, and the 
shadows grown darker,’’ It is chiefly admired 


- for its marvellous effect of light, and the poetic 


idea of making that light emanate from the new- 
born babe. 

_ The magnificent altar-piece, inthe Parma Gallery, 
of the Madonna with St. Jerome and the Magdalene, 
called ‘ Il Giorno,’ or ‘The Day,’ is another of Cor- 
reggio’s works distinguished for its perfection in 


- the management of light and shade, and the volup- 


tuous beauty of the Magdalene. Mengs says of this 
graceful figure, that ‘‘ whoever has not seen it is 
ignorant of what the art of painting can achieve.” 
This great painting was executed for a certain 
Donna Briseide Colla, of Parma, a widow lady, 
who paid the painter more liberally than any of 
his other patrons, giving him, it seems, over and 
above the stipulated sum of 80 scudi, various 
presents, consisting of “two cartloads of faggots, 
According 
to Dr. Meyer, Allegri did not disdain to thus 
receive payment in kind from some of his less 
wealthy patrons, and possibly it is upon some tra- 
dition of this sort that Vasari’s absurd story of 
his dying under a weight of copper money was 
founded. The ‘Madonna della Scodella,’ in the 
Parma Academy, the ‘Madonna and St. Sebas- 
tian,’ and the ‘Madonna and St. George,’ at 
Dresden, are likewise considered to belong to this 
time of highest achievement. 

In 1530, Allegri left Parma, and returned to 
Correggio, having before this (probably about the 
end of 1528) lost his young wife. He appears to 
have now made up his mind to settle in his native 
town, where he lived in a good house in the Borgo 
Vecchio (probably the one which he had inherited 
from his uncle). He also bought an estate in 


-November, 1530, for 195 scudi, and in 1533 a few 


acres of land. About this time we frequently find 
his name mentioned as witness, he being at one 
time summoned to witness the payment of the 
marriage portion of Clara, the daughter of the 
Lord of Correggio, all of which facts prove that | 


PAINTERS AND ENGRAVERS. 


he must have been a man of some means and 
importance in his native city. 

Besides Allegri’s great religious pictures, he 
painted a number of mythological subjects, for 
which his style was admirably adapted. The 
sensuous qualities of his art have full play in 
such works as the ‘Jupiter and Antiope’ of the 
Louvre, the ‘ Education.of Cupid,’ in the National 
Gallery, the ‘Danae’ of the Borghese Gallery, 
and the ‘Leda’ of the Berlin Museum. Most of 
these works were executed, it is supposed, during 
the last years of the painter’s life, but the exact 
dates are uncertain. 

Vasari states that Allegri painted two of these 
pictures—the ‘ Leda,’ and the ‘ Danae,’ described 
by him as ‘Venus’—forthe Duke of Mantua, who 
afterwards presented them to the Emperor Charles 
V., and there seems no reason to doubt his inform- 
ation in this particular. It is probable, however, 
that Allegri became known to the duke not 
through the intervention of Giulio Romano, as has 
been supposed, but rather through the recommend- 
ation of Veronica Gambara, the second wife of 
Giberto of Correggio, who was a lady of great 
learning, and who founded an Academy in Cor- 
reggio. <A letter dated September 3, 1528, is 
extant from this lady to her friend Beatrice 
d’ Este, Duchess of Mantua, inviting her to ‘‘ come 
and see the chef d’ceuvre of the ‘ Magdalene in the 
Desert,’ just finished by the Messer Antonio Allegri. 
It astonishes all who behold it.” The cause of 
Allegri’s death at the early age of 40 is unknown. 
It was probably sudden, for he had entered upon a 
new commission shortly before. He died on the 
5th of March, 1534, and was buried the next day 
in the Franciscan church at Correggio, a simple 
wooden tablet marking the spot. In the 18th 
century, when his grave was sought for, it could 
not be found, though a skull purporting to be his 
is preserved in the Academy of Modena. 

Allegri’s art was thoroughly individual. Vasari 
rightly calls him pittore sengolarissemo, but by 
the sensuous character of his painting he is 
more nearly allied to the school of Venice than to 
the severer intellectual schools of Padua or 
Florence. Perhaps what mostly distinguishes his 
style from that of every other master, is his 
delicate perception of the minutest gradations of 
light and shade. His chiaroscuro has been praised 
by artists as simply perfect. It sheds a wonder- 
ful atmosphere of light and delight over all his 
works, and his figures seem literally to live in 
radiant glory. Allegri’s Madonnas are beautiful, 
joyous mothers, endowed with every human 
charm; but with none of the spirituality that 
Raphael infused into the old ascetic type. He 
departed, in fact, as far as the Venetian masters 
from the old religious ideal, and like them made 
esthetic perfection his sole aim. 


CHIEF AUTHENTIC WORKS. 


FRESCOES. 


Fresco paintings in the nunnery of San Paolo, 1518. 
St. John ; fresco above a doorway in San Giovanni. 
Frescoes in the dome-of San Giovanni. 1521—1522. 


Frescoes in the dome of the cathedral at Parma. 1526 
—1530. 
Madonna della Scala; fresco now in the Academy at 


Parma. ; 
The Annunciation ; fresco formerly in the church of the 
Annunziata in Parma; recently restored and removed 


from the wall. 


23 


Pe oN Pe es, Pe Ne on ee ee tb a ene 


A BIOGRAPHICAL DICTIONARY OF 


appears to have been greatly employed, and : 


OIL PAINTINGS. 


Madonna of St. Francis; Dresden Gallery. 1514. 
Martyrdom of SS. Placidus and Flavia; Academy at 


Parma. 1522—1524? 

La Notte, or The Night; Dresden Gallery. 1522— 
1530. j 

Il Giorno, or St. Jerome; Academy at Parma, 1527— 
1528? 

Madonna and St. George; Dresden. About 1530. 


Madonna and St. Sebastian; Dresden. 1525. 
Marriage of St. Catherine; Louvre. 1517—1519. 
Virgin in Adoration ; Uffizi, Florence. 
Madonna della Cesta; National Gallery. 1520? 
La Zingarella; Naples Gallery. 

Sposalizio di 8. Caterina; Museo, Naples. 

St. Antonio; Chiesa dei Girolamini, Naples. 
Adorazione dei Magi; Brera, Milan. 
Adorazione dei Pastori; Galleria Crespi, Milan. 
Madonna col figlio ; Museo del Castello, Milan. 
4 Raccolta Malaspina, Pavia. 
ees: Galleria, Modena. 

Madonna e Santi; Sigmaringen. 

Madonna and Child; Benson Collection, London. 

St. Marta; Lord Ashburton. 

mee Rest in Egypt ; Uffizi, Florence. 

Sacra Conversatione; Ritter Gallery, Vienna. 

Christ in the Garden of Gethsemane; Aspley House ; 
given by the King of Spain to the Duke of Wel- 
lington. 

Ecce Homo; National Gallery. : 

Jupiter and Antiope ; Louvre, formerly in the possession 
of Charles I. 

Education of Cupid; National Gallery. 

Io and Jupiter ; Vienna Gallery. 

Leda; Berlin Gallery. 

~« Dandie; Borghese Gallery in Rome. : 

The Triumphs of Virtue and Vice; two allegorical 

sketches in tempera, in the Louvre. 


3? 39 


BIBLIOGRAPHY. 
Ricct, C., ‘Correggio, Life and Time.’ 


1896. 

Brinton, S., ‘Correggio.’ London, 1900. : 

Pungileoni, ‘Memorie istoriche di Antonio Allegri.’ 3 
vols. Parma, 1817. 


Raphael Mengs, ‘Life and Works of Ant. Allegri.’ 
1870. 

Pretro Martini, ‘Il Correggio’” 1871. 

Quirino Bigi, Antonio Allegri da Correggio.’ 
1860; 2nd edit., 1873. 

Julius Meyer, ‘ Antonio Allegri da Correggio.’ First 
appeared in the ‘ Allgemeines Kiinstler-Lexicon’ in 
1870. English translation, edited by Mrs. Charles 
Heaton. 1876. 

J. P. Richter, ‘Antonio Allegri, gen. Correggio,’ in 
the ‘Kunst und Kiinstler.’? 1879. 


ALLEGRI, Lorenzo, an inferior Italian painter 
of whom very little is known. He was uncle to 
the celebrated Antonio Allegri, called Correggio, 
and is said to have been his first instructor in the 
rules of art. In 1503 he painted a picture for the 
convent of San Francesco in Correggio, but no 
work by his hand is now known to exist. He died 
in 1527, leaving his property to his brother 
Pellegrino, and his nephew Antonio, by whom he 
was much beloved. 

ALLEGRI, Pomponro, son of Antonio Allegri, 
was born in 1521. He was only thirteen years of 


London, 


Parma, 


age when his father died, so he could not have |, 


received much training from him, but he is said 
to have studied under Rondani, who may likewise 
be considered a follower of Allegri. Pomponio 
inherited a considerable fortune from his father 
and grandfather, and appears for some time to 
have held a good position in Correggio. He 
afterwards, however, sold most of his landed 
property, and his affairs became involved. He 
ues altogether an inferior painter, although he 
2 


received many important commissions. One of 


his altar-pieces, showing the influence of his 


father, is in the Academy at Parma. It represents 


‘Moses showing the Israelites the Tables of the — a 


Law.’ Other works are in various churches. He 


a 
Ms 
44 
/ 


sometimes signed himself Pomponio Latt, latin-— 


izing the name of Allegri, as his father also did 
occasionally. He was still living in 1593. After 
his time the family of Allegri appears to have 
fallen into poverty, and to have become extinct. — 


M. M. H. 

ALLEGRINI, Francesco, called DA GusBBIO. 
This painter was born at Gubbio in 1587, and was 
a disciple of Giuseppe Cesare. 


in oil and in fresco, for the churches and palaces 
at Rome. Works by him are also in Gubbio, in 
Genoa, and Savona. He had a great number of 


He painted his- 
torical subjects, and executed many works, both ~~ 


scholars, amongst whom were his son, FLAMINIO, — 


and his daughter, ANGELICA, who also painted 
historical subjects. He died in 1663 at Rome. 
ALLEGRINI, Francesco, a designer and en- 
graver, was born at Florence, about the year 1729. 
In 1762, he published, in conjunction with his 
brother Giuseppe, a collection of one hundred por- 


traits of the family of the Medici, with a frontis- 


piece, engraved by himself. He also engraved 
fourteen portraits of Florentine poets, painters, 
and other eminent personages. We have also a 
print by him of the statue of St. Francis of Assisi, 
which is held in much veneration at Siena. - 

ALLEGRINI, Giusrprs, brother of Francesco, 
an Italian engraver, who flourished about the year 
1746. We have the following plates by him : 

The Virgin Mary with the Infant Jesus; half figures, 

with this inscription, Egredietur Virgo de radice, ge. 

The Circumcision. 

The Stoning of St. Stephen. 

A small print of Rinaldo and Armida. 

A large operatic scene; after Chamont. 


ALLEMAND, L’. See L’ALLEMAND. 

ALLEN, Fouperr vAN OUDEN,.a designer and 
engraver of Utrecht, flourished in the second half 
of the 17th century. The view of the city of 
Vienna, engraved by J. Mulder, is from a drawing 
by this artist, made in 1686; and he has himself 
engraved a large plate of the city of Prague, a 
slight print, with several figures. He died in 1715. 

ALLEN, James BAYLIs, an engraver, who was 
born at Birmingham in 1802, was first engaged in 
the business of his father, a button manufacturer ; 
but afterwards became a pupil of Vincent Barber, 
and migrated to London in 1824, where he died 
in 1876. The chief works he engraved were : 


Battle of the Meeanee; after Armitage. 

The Columns of St. Mark; after Bonington. 
Bucentaur ; after Canaletto. 

The Dogana; after Canaletto. 

The Battle of Borodino; after G. Jones, R.A. 
Lady Godiva; after G. Jones, R.A. 

The Fiery Furnace ; after G. Jones, R.A. 

The Death of Nelson; after Turner, 

Phryne going to the Bath as Venus; after Turner. 
The Decline of Carthage; after Turner. 

The Temple of Jupiter Panhellenium; after Turner. 


ALLEN, Jamss C., an engraver, a native of 
London, became a pupil of William Cooke, with 
whom he published, in 1821, fifteen engravings of 
views of the interior and exterior of the Coliseum 


at Rome. One of his best plates was the ‘ Defeat of © 


the Spanish Armada,’ after De Loutherbourg, 1831. 
He also executed numerous book-illustrations. 


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j | ALLEN, JosePH W., the son of a schoolmaster 
at Hammersmith, was born in Lambeth in 1803. 
_ He was educated at St. Paul’s School, and was 


afterwards for-a short time usher in an academy 
at Taunton. Discovering a talent for drawing, he 
came back to London, resolved to adopt the brush 
as his means of living. In the first instance he 
became an assistant to a picture dealer, under whom 
he acquired a considerable knowledge of the old 
masters, and the pecuniary value of their works. 


‘He afterwards took to scene painting, in associa- 


tion with Charles Tomkins and Clarkson Stanfield : 
and during Madame Vestris’s first lesseeship of the 
Olympic Theatre, he painted most of the scenery 
for her. The natural bent of his genius, however, 
was for pastoral landscape, and the varied pictur- 
esque features of English scenery; and his little 
fresh, green, and true bits of nature soon at- 
tracted admirers and purchasers. As time went 
on, his talent became manifestly more matured, 
and he was noted, amongst other things, as an ex- 
cellent painter of distances. ‘The Vale of Clwyd,’ 
exhibited in 1847, created a considerable sensa- 
tion, and was purchased by an Art Union prize- 
holder for three hundred guineas; and Allen 
repeated it twice in smaller dimensions, for other 
purchasers. ‘Leith Hill,’ in the following year, 
was almost equally successful. His subjects were 
usually well chosen, and consisted chiefly of views 
in North Wales, Cheshire, Yorkshire, and the mid- 
land counties. Allen took an active part in the 
establishment of the ‘Society of British Artists,’ 


of which he became the secretary, and attached 


himself to its interests with such devotion that he 


‘latterly refused to exhibit anywhere else in London 


than at its Gallery in Suffolk Street. There is little 
doubt that his influence tended much to heighten 
the repute for landscape painting which the ex- 
hibitions of this Society have generally enjoyed. 
He was also professor of drawing at the City 
of London School, from its foundation. He died 
in 1852. 

ALLEN, THomas, was an English marine painter, 
who flourished in the middle of the 18th century. 
He painted scenes from Queen Charlotte’s voyage 
and arrival in England. Allen’s works were en- 
graved by P. C. Canot. 

ALLET, JEAN CHARLES, a draughtsman and en- 
graver, was born at Paris about the year 1668. 
He resided a long time in Italy, and is supposed 
to have died at Rome in 1732. Owing to his having 
marked his plates sometimes Jean Charles Allet, 
and sometimes Carolus Alet, collectors were for 
some time inclined to believe that they were two 
distinct artists ; but from the evident similarity of 
style, it is no longer doubted that all those plates 
are by the same hand. Allet engraved portraits 
and subjects from sacred history, and appears to 
have wished to imitate the manner of F. Spierre 
and Cornelis Bloemaert, but his imitation has not 
been very successful. His principal plates are the 
following : 

PORTRAITS. 

Andrea Pozzo, Jesuit and architect ; dated 1712. 

Cardinal Aloisio Amadei; after J. Morandi, 1690. 

Ferdinand Charles Gonzaga, Duke of Mantua; after 

- Ant. Lesma. 

Pope Alexander VIII.;.after H. Calendrucci. 1695. 

St. Aloysius Gonzaga, Jesuit; oval. 

St. Ignatius; after P. Lucatelli ; oval. 

SUBJECTS FROM SACRED HISTORY. 
The Conception of the Virgin; after And. Pozzo ; oval. 


PAINTERS AND ENGRAVERS. 


The Adoration of the Shepherds ; after 8S. Cantarina, 

The Virgin Mary and St. Joseph adoring the Infant 
Jesus; after the same. 

The Saviour brought before Pilate; after P. de Pietri. 

Ananias restoring sight to St. Paul; after Pietro da 
Cortona. 

The Vision of St. Paul; after the same painter. 


The last two plates are considered his best his- 
torical works. 


The Death of a Saint, in presence of the Virgin, St. 
Joseph, and St. Francis Xavier. 

The Death of St. Stanislaus Kostka; after P. Le Gros, 
sculptor. 

St. Gaétan, accompanied with a figure of Religion, and 
Christ holding His Cross; after Laz. Baldv. 

2s pemttieg tr and St. Athanasia after F. B. Zuc- 
chezzt. 

St. Augustine with a child, getting water from the sea ; 
after J. B. Leonardi. 

St. ee crowned by angels; Carolus Allet, del. & 
sculp. 

Twelve plates of the Life of Christ; after Passeri, 
engraved in conjunction with 4. v. Westerhout. 


ALLOM, Tuomas, architect and landscape 
painter, was born in March, 1804. He was 
articled to Francis Goodwin, the architect, in 
1819; and, while his pupil, was engaged upon 
the Manchester Town Hall, Derby Gaol, West 
Bromwich Church, and many other public build- 
ings. He also assisted in making designs (1834) 
for the then-existing Parliament Houses, which 
were lithographed by him by order of the House 
of Commons. Wishing to travel, with the object 
of gaining a more enlarged knowledge of his pro- 
fession, he turned his attention to painting views 
for the purpose of publication. The first illustrated 
work which made its appearance under these cir- 
cumstances was ‘The Scenery of Devonshire and 
Cornwall.’ This was followed by a similar work 
on the ‘Lake District, and Northern Counties,’ 
‘Scotland Illustrated,’ the historical portion of 
which was written by Dr. Beattie. In producing 
these illustrations he endeavoured to give the 
scenes additional interest by depicting the cele- 
brated historical incidents connected with them. 
—thus, in the ‘ View of Lochiel,’ is represented the 
gathering of the clans of Prince Charlie ; in that 
of the ‘ Castle of Doon’ we see prisoners taken at the 
battle of Falkirk; ‘Linlithgow Palace’ is represented 
as being burnt by Hawley’s dragoons. His more 
strictly professional engagements, however, inter- 
fered with the completion of these works, and he 
was obliged to give up a portion to other hands. 
Soon after this a proposal was made to him to go 
to the East, and this, being more in accordance 
with his legitimate profession, was too tempting 
to be refused. His work on ‘ Constantinople and 
Asia Minor’ was the result of this journey, in 
which he again introduces historical events, such 
as the unfolding of the standard of the Prophet in 
the mosque of Sultan Achmet previous to the 
massacre of the Janissaries by Mahmoud. His 
subsequent work on France is, perhaps, his best 
work, and in this his intimate knowledge of 
architecture proved of the greatest advantage. In 
1846 he had an audience of Louis-Philippe at 
Paris, when the king expressed his great appro- 
bation of the work, and invited him to visit St. 
Cloud the following season, and requested him to 
make drawings of the king’s own estate at Dreux, 
with monuments to the royal family. In 1846-8 
his designs of proposed improvements on the banks 
of the Thames were exhibited by him in Geren 


- forwarded from the last of these. 


Manchester, and Paris, and a diploma of merit was 
He was one of 
the founders of the Institute of British Architects. 


Amongst his architectural works are: Christ- 


church, Highbury, the Cambridge Military Asylum 
at Kingston, Kennington Workhouse, and St. 
Peter’s Church, Notting Hill. Amongst his paint- 
ings, which exhibit true feeling and nice execution, 
are those of the ‘Cities of the Seven Churches of 
Asia Minor,’ which were engraved in the ‘ Art 
Journal’ in 1862-3. He died at Barnes, in October, 
1872. 

ALLORI, ALESSANDRO, also called ALESSANDRO 
Bronzino, was born at Florence in 1535. He 
was the son of a painter; but having the misfor- 
tune, when he was only five years of age, to lose 
his father, he was placed under the care of his 
uncle, Agnolo Bronzino, who brought him up with 
all the affection of a parent. Before he was seven- 
teen years of age, he had made such progress 
under this able master, that he painted, from his 
own design, an altar-piece representing the Cruci- 
fixion, a composition of several figures, ingeniously 
arranged and well coloured. When he was nine- 
teen, he visited Rome, where he remained two 
years. The chief objects of his admiration and 
study in that city were the works of Michelangelo, 
and the grand style of that master is discernible in 
his pictures. On his return to Florence, he was 
greatly occupied for the churches and other public 
edifices. He was, however, occasionally prevailed 
on to paint the portraits of some of the distin- 
guished personages of his time, which he treated 
in a great and admirable style. In 1590, he 
published Dialogo sopra l arte del disegnare le 
Figure, illustrated with anatomical plates. “Some 
of his pictures in Rome, representing horses, are 
beautiful. His ‘Sacrifice of Isaac,’ in the Royal 
Museum, is coloured almost in the Flemish style. 
He was expert in portrait painting, but he abused 
his talent by introducing portraits in the modern 
costume in ancient histories, afault not uncommon 
in that age. On the whole, his genius appears to 
have been equal to every branch of painting ; but 
it was unequally exercised, and consequently un- 
equally expanded” (Zanzz). In the Berlin Gallery 
there is a female portrait by him, probably repre- 
senting Bianca Cappello, wife of Francis II. of 
Tuscany ; and there are no less than sixteen works 
by him in the Uffizi, Florence. He died at Florence 
in 1607. 

ALLORI, Awneiouio, called In Bronzino, an 
eminent Florentine painter and poet, was born at 
Monticelli near Florence in 1502. He studied first 
under an obscure painter, then under Raffaelino 
del Garbo, and subsequently became the favourite 
disciple of Jacopo Carrucci, called Pontormo, and 
assisted that master in some of his most consider- 
able undertakings, particularly in the chapel of 
San Lorenzo at Florence, which he was employed 
to finish after the death of that master. He ap- 
pears to have studied with attention the dignified 
style of Michelangelo, and there is something of 
the grandeur of that master discernible in all his 
productions. His principal works are at Florence 
and Pisa. He worked both in fresco and oil. He 
also excelled in portraits, and painted the most 
celebrated personages of his time, among whom 
were Dante, Boccaccio, and Petrarch. He frequently 
painted the portraits of Cosimo I., Grand Duke of 
Tuscany, and his wife Eleonora, and there are 
many replica besides. He died at Florence in 

26 


A BIOGRAPHICAL DICTIONARY OF 


oa 


1572. The following are some of his 
portant works: 


Portrait of Cosimo ten 


Dresden. Gallery. it of Cosim | 
al < Portrait of his wife, leon 
Florence. Academy. Pieta. : 


: 99 


~ Badia. 
».  &. Lorenzo. 


S. Girolamo ad. 
»  Poverino. 


Martyrdom of St. — 
(fresco). 


» ee a, Holy Family. wae 

Es Fy Portrait of CosimoT. 

: zs Portrait of Francesco I. de’ Me- 
dici, and others. ‘ : 

Uffizi. The Descent into 


masterpiece) 
Portrait of Pontormo. 
Descent from the Cross. 
Annunciation. 
Pieta, BROZ: FAQs) > 9 
An Allegory—Prosperity 
by Victory. BROZ: FAC: | 
Portrait of Eleonora, wife o 
Cosimo I., and others. . vy 
Portrait of a Lady. 


crown 


A Knight of St. Stephen. 


Portrait of Piero dé Medici. — 
Portraits of two children. 
Portrait of Cosimo I. | 
Portrait of Cosimo I. 

The Violin-player. 

Male portrait. 

Portrait of a Lady. = 
Portrait of a Lady. ie 
Portrait of a Lady. BRONZINO F. 
Portrait of Cosimo I. ee 


Lucea. Comming Gal. 


” 9? 

» Royal Palace. 
Madrid. Jfuseum. 
Paris. Louvre. 
Petersburg. Hermitage. 


” 99 
», Leuchtenberg Col. 
Rome. Borghese Pal. 
Vienna. Gallery. 
TINO. 
Portrait of Cosimo I. nee 
Portrait of his wife Eleonora. 


?? ” 
3° 9 


ALLORI, CrisroraNno (sometimes called Bron- 


71NO), the son of Alessandro, was born at Florence 
He was for some time instructed in — 
the art by his father, but he afterwards studied 
under Santi di Tito, and finally improved himself 
in colouring by imitating the harmonious tinting 
He painted 
several considerable works for the churches and. 


in 1577. 


of Lodovico Cardi, called Cigoli. 


convents at Florence, and for the palace of the 
Medici. 


vicious habits that often seduced him from his 


labours, his works are extremely rare, and he 


himself comparatively little known. | The ‘St. 


Julian’ of the Pitti Palace is the grandest effort a 


of his genius; his picture of ‘Judith with the 
head of Holofernes,’ also in the Pitti Palace, is, 
however, of wider acquaintance. Judith, so beau- 


tifully and magnificently attired, is a portrait of — 


his mistress ; the attendant is that of her mother, 
and the head of Holofernes that of the painter. 
Numerous copies of this fine work (which has been 


engraved no less than thirteen times), and duplicates — 


of his most celebrated pictures, are scattered over 
Italy; the productions of his scholars Tanteri, 
Bruno, Certosini, Cerrini, and others. He died in 
1621 at Florence. Allori made several copies, with 
slight alterations in the background, of Correggio’s 
‘Reading Magdalene,’ which were such good imi- 
tations that they have passed as replicas by Cor- 


reggio’s own hand. In addition to the works a 


already noticed may be mentioned: 


Cartoon for the ‘Descen into 
' Noli me tangere ( fresco). , a ¥ 
a 
ct 


Venus, Cupid, Folly, end Sita” AF 


at Portrait of Cosimo I. a 


Ur ae 
rea fs 
? 


Holy Family. BROZINO FIOREN- 


He was also a very celebrated portrait 
painter; and many of the distinguished persons ~ 
of his time were painted by him. Owing to 


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be” 


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aa 
wid 


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ANGIOLO ALLORI 


CALLED 


BRONZINO 


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[Ufisi Gallery, Florence 


MEDICI 


FERDINANDO DE’ 


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Brog 


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a 


4 


His own Portrait. 
x 33 _ Adoration of the Magi. 
A The Magdalene. 
+ ied Infant Christ sleeping. 
London. Wat. Gali. Portrait of a Lady. 
Paris. Louvre. Isabella of Aragon at the feet of 


* 


_ Florence. Uffizi. 


PAINTERS AND ENGRAVERS. 


z Charles VIII. 
ALLSTON, WasHinaTon, one of the chief 


ae of the American school, was born at 
accamaw in South Carolina, in 1779. After the 


completion of his university career at Harvard, 


he took up his abode at Charleston, where he, 


however, did not long remain, as he desired to 
go to Europe for the improvement of his art. He 
arrived in London in 1801, and at once entered 
the Royal Academy Schools, where he became 


acquainted with his fellow-countryman, West, 


who was then president. In 1804, Allston went 


with his friend Vanderlyn and with C. R. Leslie 


ing year he painted his ‘Joseph’s Dream.’ 


to Paris, and thence to Rome, where in the follow- 
At 
Rome, Allston commenced with Washington 
Irving a friendship which lasted for life. He also 
became acquainted with Coleridge, and the Danish 
sculptor, Thorwaldsen. In 1809, he went back 
to America, married a sister of Dr. Channing, 


and then returned to London, where he produced 


his ‘Dead Man touching Elisha’s bones,’ which 
gained a prize of two hundred guineas from the 
British Institution. Itisnow in the Pennsylvania 
Academy of Fine Arts at Philadelphia. Then 
followed the ‘Liberation of St. Peter by the 
Angel,’ which was taken to America in 1859, and 


‘presented by Dr. Hooper in 1877 to the Wor- 


cester Lunatic Hospital, U.S.; ‘ Uriel in the Sun,’ 
in the possession of the Duke of Sutherland ; and 
‘ Jacob’s Dream,’ in the Petworth Gallery. In 
1818, Allston returned to America, and settled at 


- Boston, his health weakened by sorrow for the 


death of his wife, and by overwork. In the same 
year he was elected an Associate of the Royal 
Academy. Of the works which he executed in 
the following years, we may notice, the ‘ Prophet 
Jeremiah,’ now in Yale College; ‘Saul and 
the Witch of Endor;’ ‘Miriam’s Song;’ and 
‘Dante’s Beatrice.’ In 1830, Allston married 
again. His second choice was the daughter of 
Chief Justice Dana, of Cambridge, Massachusetts, 
where he settled. There he spent the remainder 
of his life in secluded industry, occasionally in- 
terrupted by illness. He then produced one of 
his best known works, ‘ Spalatro’s Vision of the 
Bloody Hand,’ from ‘The Italian’ by Mrs. Rad- 
cliffe—especially remarkable for the effects of 
light and shade, and for the expression of fright 
and a guilty conscience on the face of Spalatro, 
and the firm determination visible on the counten- 
ance of the monk. This work, which was painted 
for Mr. Ball, of South Carolina, is now in the 
Taylor Johnston Collection in New York; it has 
been engraved by W. J. Linton, His ‘ Rosalie,’ 
executed late in life, is also worthy of mention. 

Allston died at Cambridge in 1843, leaving 
unfinished a large work, on which he had been 
engaged at various times for about forty years. It 
represents ‘Belshazzar’s Feast,’ and is now in 
the Boston Atheneum, where there is also a 
‘Portrait of Benjamin West,’ which, with that of 
the poet Coleridge, in the National Portrait Gal- 
lery, proves that Allston excelled in portraiture 
as well as in historic painting. 

The works of this artist, the pride of his country, 
the ‘American Titian,’ are especially remarkable 


for beauty and power of colouring. His fondness 
for the terrible is especially noticeable in ‘ Spa- 
latro’s Vision,’ in ‘Saul and the Witch of Endor,’ 
and in the unfinished ‘ Belshazzar’s Feast.’ 

ALMELOVEEN, Jan, a Dutch painter and 
engraver, of Mijdrecht, near Utrecht, flourished 
towards the close of the 17th century. He is better 
known by some etchings of landscapes, executed 
with great lightness and intelligence, after the 
manner of Saftleven, than by anything he has left 
us as a painter. Among his plates are: 

A portrait of Gisbert Voetius ; signed J. Almeloveen, inv. 

et fec. 

A set of twelve landscapes, with small figures; J. 

Almeloveen, inv. et fec. 
Six mountainous landscapes, with figures; Joan. ab 
Almeloveen, inv, et fec. 

The Four Seasons; after H. Saftleven. 

Twelve Views of Dutch Villages ; after the same. 

ALOIS. See Atovier. 

ALOISI, Baupassarz, called In GaALANINo, 
was born at Bologna in 1578, and was brought up 
in the school of the Carracci, to whom he was 
related. He was little inferior to the ablest of his 
fellow-students ; of this he has given proof in 
several of his works in the churches at Bologna, 
particularly his admired picture of the ‘ Visitation,’ 
in La Carita, so highly commended by Malvasia ; 
and the ‘ Virgin and Infant, with St. John the 
Baptist and St. Francis,’ in San Paolo in Monte. 
He visited Rome during the pontificate of Urban 
VIII., and here, according to Baglioni, he was much 
employed in painting portraits of the most illus- 
trious personages of his time, which were admired 
for the force and truth of their colouring, and for 
their extraordinary relief. He also painted some 
works for the churches at Rome, of which the 
principal was the great altar-piece in the church of 
Gest e Maria, representing the ‘Coronation of the 
Virgin.’ He died at Rome in 1638. He was also 
an engraver, and imitated Lanfranco, Badalocchio, 
and Guido Reni. He engraved fifty plates of 
Raphael’s works in the Loggie, in the Vatican. 
Aloisi had two sons, Viro ANDREA and GIOSEFFO 
CARLO, who were painters. 

ALOVIGI, AnpREA (or Atos, ALoysi, and D1 
Luie1), of Assisi, called L’ InczG@no, was born about 
the year 1470. He is said by Vasari to have been a 
fellow-pupil with Raphael under Perugino, and to 
have assisted the latter in the Cambio at Perugia, at 
Assisi, and in the Sistine Chapel. Ingegno, Vasari 
adds, became prematurely blind, and received a 
pension from Pope Sixtus IV. This last statement 
Rumohr points out to be an error, as the Pope 
died in 1484, and Raphael did not enter Perugino’s 
studio till about 1496. Numerous pictures — 
scattered throughout Europe —are attributed to 
Ingegno, amongst them a ‘ Madonna and Child,’ 
in the National Gallery, which is now ascribed in 
the catalogue to Pinturicchio. Most of his works 
are in the manner of Fiorenzo di Lorenzo. Vasari 
is the only early writer who mentions this painter, 
and Rumohr has shown that part of the little he 
has said of him is incorrect. That there was such 
a painter is certain, but at present no picture can 
be pointed out as indisputably the work of his 
hand. 

ALS, Peter, a Danish historical and portrait 
painter, born at Copenhagen in 1725, studied 
for some time under C. G. Pilo. After gaining 
the first great prize given by the Academy at 
Copenhagen in 1755, he went to Rome and entered 
the school of Mengs. He occupied himself ed 


Pe MESA ee ee ee ee * ea ae Pe ee ats ‘ ‘ 
Ce ee ee 
» i 


A BIOGRAPHICAL DICTIONARY OF | : 


in copying the pictures of Raphael and Andrea del 


Sarto, which, it is said, he did with great accuracy. | 


He also copied Correggio and Titian. On his 
return to his own country he painted some good 
portraits; but his colouring was too sombre to 
give a pleasing effect to his pictures of females, 
and his work was frequently so laboured as to be 
deprived of all animation. Copies of the works 
of the old masters by Als are to be seen in 
Denmark. He died in 1775. 

ALSLOOT, Denys VAN, a portrait and landscape 
painter, who flourished towards the close of the 
16th and the beginning of the 17th century, was 
born at Brussels, but the date is nowhere recorded, 
and but little is known of his life. He was, about 
1600, painter to the Archduke Albert of Austria, 
and his pictures were purchased for high prices. 
He died in the year 1626, or earlier. A landscape 
with the story of Cephalus and Procris, in the 
Vienna Gallery, is dated 1608. The figures are 
by H. de Clerck. ‘Two pictures by him are in 
the Brussels Gallery: they represent the Procession 
of St. Gudule at Brussels. By mistake, a second 
painter, DANIEL VAN ALSLOoT, has been recorded 
by some writers; but he apparently never existed. 

ALT, Jakos, who was born at Frankfort-on-the- 
Main in 1789, received his first instruction in art 
in his native city, and then removed to Vienna and 
entered the Academy, and soon rose to fame as a 
landscape painter. He then made various journeys 
throughout Austria and Italy, painting, as he went 
along, views in the neighbourhood of the Danube 
and in the city of Vienna. In later life Alt 
painted much in water-colour; he was also an 
engraver on stone. He died at Vienna in 1872. 
One of his best works is a ‘View in Venice,’ 
in the Belvedere Gallery, signed and dated 
1834. He was employed by the Emperor Ferdi- 
nand to paint in water-colour a series of views of 


Rome. 

ALTDORFER, ALBRECHT, a painter, engraver, 
and architect, was born not later than 1480. In 
1505 he was enrolled a burgher of Ratisbon, in 
which connection he was described as “a painter 
of Amberg, twenty-five years of age.” It is not 
certain, however, whether this description proves 
more than that he had fully attained the age 
(twenty-five years) at which the freedom of the 
city could be granted; and, as the registration 
took place immediately upon his arrival from 
Amberg, it is possible he was older than the 
letter of the record appears to state. The place 
of Altdorfer’s birth has not been determined, though 
there are grounds for believing that he was of 
Ratisbon stock and probably of Ratisbon birth, 
Amberg being only the home of his young man- 
hood. But, uncertain though it be whether the 
migration to Ratisbon in 1505 was a bold adventure 
among strangers or merely a return home, it is 
indisputable that events soon justified the young 
burgher’s choice of a city. In 1508 he received an 
official appointment, and in 1509 the city council 
gave ten gulden towards the expense of a picture 
which he painted for the choir of St. Peter’s church. 
Four years later he was in a position to buy a 
house with a courtyard and a tower, the first of 
four houses purchased by him during his thirty 
years of citizenship. Of the furnishing of these 
houses his will gives some inkling, with its notices 
of chests, pictures, weapons, gems, stuffs, coins, 
silver goblets, and of “a horse with trappings.” 
eel prosperity and opulent surroundings 


account for a great deal both in the form and in 
the matter of his art, while his practical activity 
as city architect explains not a little more. The 
bastions which he erected against the Turks have 
been swept away, but the public slaughter-house 
built from his designs is still standing ; while the ~ 
important architectural elements of ‘Susannah,’ 
‘Poverty and Riches,’ ‘The Birth of the Virgin,’ 
and other paintings, prove that he was not merely 
a perfunctory Baumeister but an enthusiast for 
builded stones. Nor was it only as painter and 
architect that Altdorfer served Ratisbon ; he was a 
city councillor, and it is characteristic of “‘ Meister 
Albrecht” that when a mob burned down the Jews’ 
synagogue—a building of which he had twice 
made etchings, and which he had used for a back- 
ground in several pictures—it was ‘ Meister 
Albrecht’s ” hand which signed the decree for the - 
Jews’ expulsion. By virtue of so wide a knowledge 
of the world, this wealthy burgher and busy man 
of affairs was bound to differ strongly from mere 
studio-artists, and, as the artist in him always had 
the upper hand—this appears from many incidents, 
such as his retirement from high office while he 
was painting ‘The Battle of Arbela’—his variegated 
and energetic life was almost wholly to his artistic 
advantage. 'The widespread belief that Altdorfer, 
in respect of technical mastery, lags far behind the 
great artists who devoted themselves almost wholly 
to their art, is not shared by any competent person 
who has made it his business to examine dis- 
passionately the whole body of this master’s work. 
Paintings, drawings, etchings, and woodcuts ‘in 
turn exhibit an extraordinary sense and domination 
of the particular medium. As a colourist he must 
be placed very high indeed among the Northern 
Masters, and his work is full of air. As for his 
drawings, of which the Berlin Print Room has the 
most important collection, they are so highly 
charged with poetical feeling, and are so remark- 
able for technical accomplishment, that these 
almost unknown works should alone suffice to lift 
their creator out of his low estate as a mere “ Little 
Master.” The etchings, especially the landscapes 
and the woodcuts, some at least of which appear 
to have been cut by-his own hand, further establish 
his right to be ranked immediately after Diirer and 
Holbein in German art, 

Altdorfer has been called “the Giorgione of the 
North,” and the phrase fits its subject neither 
better nor worse than do most other phrases of the 
kind. But to his other style of “the Father of 
Landscape” he can make good a strong claim. 
His ‘St. George’ at Munich astounds the eye 
which has noted its age (nearly four hundred 
years) by its overwhelming landscape interest. 
Five-sixths of the superficial inches of the canvas 
are covered by the innumerable leaves and twigs 
of trees crowding up to the edges of the picture on 
every side, and allowing only a peep through the 
trunks at the sky low over a rocky horizon. Nearly 
half of the great ‘Battle of Arbela’ is a confusion 
of clouds and morning light, which Turner might 
have painted; and the ‘Nativity’ at Bremen is 
hardly less wonderful, The etchings of mountains 
and of fir-trees are as picturesque as these paintings, 
and only a leisured and curious townsman could 
have seen and rendered their content of natural 
beauty. 

In expressing the human figure, and especially 
the forms of children, Altdorfer was often highly 
successful, though here also impatience with 


uncouth and sluggish German types has led 
admirers of the more gracious southern models 
to reject his achievements as unbeautiful in con- 
ception, and unskilful in execution. From this 
sluggishness of his types arises also the frequent 
denial, which is equally ill-grounded, of Altdorfer’s 
dramatic power. In the woodcuts the German 
and burgher feeling is naturally stronger than in 
the paintings and drawings, and a want of sym- 
pathy with that feeling no doubt accounts for 
the comparative indifference to his fine sequence 
of forty small cuts devoted to ‘The Fall and 
Redemption of Man.’ _ 

Altdorfer died on the 12th or 14th of February in 
1538. His wife had predeceased him in 1532, and 
both their bodies were laid in the church of the 
Augustines, the painter having been bursar of the 
Augustine priory during the last four years of 
his life. Part of his tombstone was preserved when 
the Augustines’ church was secularized and dis- 
mantled in 1840. He, who had painted hundreds 
of their happy faces more engagingly than any 
other painter, left no children ; but his was not the 
childless man’s hard heart, and it is worth noting 
that he bequeathed to the poor a silver tankard 
which had been his wedding gift to his bride. 

Altogether about thirty pictures by Altdorfer 
are extant. Among them may be named: 


Augsburg. Gallery. Triptych—Crucifixion and Annun- 
ciation. 1517. 
Ane a Birth of the Virgin. 
Berln. Museum. Diptych—St. Francis and St. 
- . Dominic (signed and dated 1507). 
in as Landscape with Figures (s¢gned and 
dated 1507). 

a a Rest on the Flight into Egypt 
(segned and dated 1510). 

As The Nativity. 

+ is Landscape with Figures, ‘Der 
Bettell sitzt auf der Schleppe 
der Hoffart’ (stgned and dated 
1531). 

Bremen. Nativity. 
Glasgow. St. Hubert. 


Munich. Pinakothek. The Battle of Arbela (dated 1529). 

Susannah at the Bath (szgned and 
dated 1526). 

Coronation of the Virgin. 

Pieta. 

St. George and the Dragon (stgned 
and dated 1510). 

ee si Landscape with figures. 

Nuremberg. Sit. Mau- A man and two women rescuing the 

rice. body of St. Quirinus from the 


water. (Three pictures.) 
» German Mus. Crucifixion (dated 1506). 
Ratisbon. Bathsheba. 
Siena. St. Quirinus. (Two pictures.) 
- Vienna. Nativity. 
- Virgin and Child, St. Joseph and 
St. John. 


The entire catalogue of his engraved designs, 
including Passavant’s additions to Bartsch, is given 


below. 
LIST OF ENGRAVINGS. 


His monogram occurs in the 
accompanying forms : 
(From Meyer’s ‘ Kiinstler-Lexikon.’) 


ON COPPER, MANY OF THEM ETCHINGS. 


Religious Subjects. 


1. Judith with the head of Holofernes. 
2. Samson with the gates of Gaza. 
8. Delilah cutting off Samson’s hair. 


PAINTERS AND ENGRAVERS. 


4, Solomon’s idolatry. 

5. The Repose of Joseph and Mary. 

6. Virgin, seated, holding the Infant Saviour. 

7. Virgin, seated on a throne, holding the Infant 
Saviour, with Angel. 

8. Virgir in profile, standing ; with the Infant Saviour. 
Anna introduced. 

9. Virgin and Child, seated. The Infant stretches his 
arms towards two children, one of whom offers a 
vessel (signed and dated 1507). 

10. The Virgin standing, offering an apple to the Infant 
(signed and dated 1509). 

11. The Virgin sitting, the Infant on her knees, giving 
the blessing. 

12. The Virgin holding the Infant, standing on a 
crescent. 

13. The Virgin with the Infant seated on clouds, a 
Saint to the right. 

14. The Infant Saviour; the right hand blessing, the 
left holds a world. 

15. Our Lord driving the merchants from the temple. 

16. Our Lord crowned with thorns, meeting Mary. 

17. The Little Crucifixion. 

18. The Great Crucifixion. 

19. St. Christopher. 

20. St. George and the Dragon. 

21. St. Jerome reading. 

22. St. Jerome writing. 

23. St. Sebastian fastened to a tree. 

24. St. Sebastian fastened to a pillar. 

25. St. Catherine, sword and wheel. 

26. The Nunnery. 

27. Two Hermits. 


28. Mercury, springing from a tree into the sea. 

29. Neptune, on a sea-monster. 

30. Rape of a Nymph. 

31. Venus, standing. Two Cupids; one holds a tablet. 

32. Venus seated in a bath; Cupid on a pedestal, after 
Marcantonio. 

33. Venus emerging from the bath ; Cupid on the left, 
after Marcantonio. 

34, Venus on a lawn, with two Cupids. 

35. Judgment of Paris. 

36. Triton, Nereid, and Dolphins. 

37. Man and Satyr struggling for a Nymph, after 
Marcantonio. 

38. Thisbe and Pyramus. 

39. Infant Hercules and the Snakes. 

40. Hercules subduing the Nemean Lion. 

41. Hercules with the two pillars. 

42, Hercules with a cornucopia; a Nymph with a lyre 
on the left. 

43. Centaur, bearing a vessel with fire. 

44, Winged Genius, holding a bubble. 

45. Winged Genius, riding on a stick. 

46. Winged Genius, blowing a bagpipe (dated 1521). 

47. Fortune, standing on a globe (signed and dated 1511). 

48. Pride, regarding herself in a mirror. _ ; 

49. Pride, seated on a winged serpent, holding a mirror 
(signed and dated 1506). : 

50. Nude female figure on a star; the right hand hold- 
ing a torch, the left a sceptre (on some examples the 
legend LaSCIVIA occurs). 

51. Dido on the funeral pile. é 

52. Lucretia seated, holding the dagger (copied with 
variations from Marcantonio, doubtful). 

53. Mutius Sczvola. 

54, The Roman lady, on a pedestal, from the medieval 
story of Virgil: male figures fetching fire from her. 

55. Soldiers Standing, one drawing his sword. Pro file, 
looking to the left. / 

56. The Warrior, a pole on his shoulder. Profile, looking 
to the right. 

57. The Warrior. Front view, holds sword and halbert. 

58. The Knight. One hand holds a vessel, the other a 

loaf. : ; : 

59. The Drummer. Marching to the right (signed and 

dated 1510). ; 

60. The Little Standard-bearer. Hilly landscape in back- 

ground. 
61. The Great Standard-bearer. 
(signed and dated 1508 or 1510). 
62. The Fiddler. Left hand holds the bow. 


Background clear 


29 


A BIOGRAPHICAL DICTIONARY OF 


63. The Contemplative Man, sitting on a stone. Has 

been supposed to be the Artist’s portrart. 

64, The Standard-bearer on the right, the Woman on 
the left. : : 

65. A Man on the right, grasping a curtain, a woman 
on the left. : 

65. (a) The Piper. A warrior, with a hat and feather, 
is blowing on a flute (signed and dated 1510). ; 

65. () Winged child, leaning forward, holding a shield. 

66. A Woman, with hat and feather, half-length. 

67. A Woman bathing her feet. 

68. A Woman seated on some armour, and holding a 
vessel ; after Beham. 

69. A nude female figure, with a candlestick. 

70. Interior of the old Synagogue at Ratisbon, with an 
inscription. 

71. Vestibule of the above, with two figures, and an 
inscription. 

72. Martin Luther. Profile, to the right, bearing in- 
scription D.L.M. Probably after Cranach or Hopfer. 

73. Head of a young man, with long hair, and no beard 
(signed and dated 1507). 


Beyond these, Meyer mentions 28 various plates 
of Ornaments, Cups, and Vases, and ten Landscapes. 


ON WOOD. 


Nos. 1 to 40. A series of cuts representing the Fall and 
the Redemption, all marked with monogram. 

41. Abraham’s Sacrifice. 

42, Joshua and Caleb with the fruit. 

43, Jael and Sisera. 

44, The Annunciation (dated 1518). 

45, The Adoration of the Shepherds (szgned). 

46. oo Murder of the Innocents (signed and dated 
1511). 

47. A magnificent Font in a chapel, with angels and 
other figures (szgned). 

48, The Resurrection (signed and dated 1513). 

49, The Virgin, in achurch, with the Infant on her arm. 

50. The Virgin, seated as on an altar, with the Infant 
on her arm, a Deacon praying before them. 

51. The Virgin and Child, by an altar, on the left of 
which are figures of St. Christopher and St. Barbara, 
on the right those of St. George and St. Catherine. 

52. Our Lady of Ratisbon: a balustrade in front with a 
vase of flowers, with the legend— 


“ Gantz schin bistu mein frundtin vnd 
ein mackel ist nit in dir. Aue Maria.” 


53. The Decollation of St. John Baptist (signed and 
dated 1512). 

54. A Decollation of St. John Baptist (szgned and dated 
1517). 

55. St. Christopher stooping to take up the Infant 
Jesus. 

56. St. Christopher carrying the Infant Jesus across the 
stream (signed and dated 1513). 

57. St. George on horseback thrusting his lance into 
the Dragon’s throat (signed and dated 1511). 

58. St. George standing, the Dragon under his feet. 

59. St. Jerome in a cave, before a crucifix. 

et es Jerome. A crucifix rests against a rock on the 
eft. 

61. St. Catherine with a wheel. Two Angels with 
musical instruments; others hold a crown above her 
head. (Passavant notes this cut, but no copy of tt ts 
now known to exist.) 

62. Judgment of Paris (stgned and dated 1511). 

63. Thisbe and Pyramus (signed and dated 1518). 

64. A Standard-bearer in a landscape. 

65. Two lovers seated in a landscape; a horse tied to 
Titi of a tree on the right (stgned and dated 

66. A title-page. Angels playing music; a Holy Family 
represented below on the left. 

67. Three plates representing peasants (attributed to 
Altdorfer by Wesseley, who praises them highly). 

68. A richly ornamental gate; the ornaments filled in 
with black. 


To this list should be added ten of the eleven 
or ae which adorn the round towers of “The 


Triumphal Arch of Maximilian ” (dated 1515), and 
thirty-eight subjects in “The Triumphal Pro- 
E.J.0. ) 

ALTDORFER, Eruarp, a painter and engraver 
on wood, was, in all probability, brother of the 
well-known artist Albrecht Altdorfer, in whose will, 
dated 12th Feb. 1538, he is mentioned as a citi- _ 


cession of Maximilian.” 


zen of Schwerin. He was court-painter to Duke 


Henry the Peaceable, and accompanied him, in — 
1512, to a royal marriage at Wittenberg. There 
he appears to have made the acquaintance of Lucas 

Cranach, as the influence of this masteris seenin _ 


his productions. He painted at Sternberg in 1516 
an altar-piece (now no longer in existence), for 


which Duke Henry engaged to pay him 150 © 


Rhenish florins. In 1552 he describes himself 
in a letter to the young Duke John Albert of 
Mecklenburg as ‘ Baumeister,’ so that he appears 
to have followed the profession of an architect as 
well as his brother. We know him only by his 
woodcuts, two of which are indicated by a mono- 
gram composed of the letters # and combined. 
His work consisted principally of title-pages and 
illustrations for various works, among which may 
be noticed the Liibeck Bible of 1533, and an 
edition of ‘Reineke Fuchs,’ containing 35 cuts, 
published at Rostock in 1539. 

ALTHAM, —,a German painter, who flourished 
about 1660, painted landscapes and marine subjects 
with considerable ability. He is reported to have 
studied with Salvator Rosa. Works by him are 
in the Colonna Collection at Rome. 

ALTICHIERO pa ZEVIO (or ALDIGHIERO), 
who was born at Zevio, a village near Verona, 
painted, with Avanzi, the decoration of the 
chapels of SS. Felice and Giorgio, at Padua. 
While the principal part of the frescoes in the 
chapel of San Giorgio is attributed to the latter 
artist, for the former are claimed the first seven 
pictures in the chapel of San Felice—formerly San 
Jacopo—illustrating the life of St. James the 
Greater; and from documents it appears that the 
payment for the frescoes in San Felice was made 
to Altichiero. But authorities differ much as to 
the authors of the various works in both chapels. 
Libke says that Altichiero displayed in his works 
a lively conception and a rich finished colouring, 
and, indeed, with the exception of Orcagna’s, his 
paintings, together with those of Avanzi, were, 
up to that period, the best productions since the 
time of Giotto. It is not known when this artist 
died, He painted as late as 1382. 

ALTISSIMO, CrisrorANo DI PAPI, DELL’. 
PAPI. 

ALTMANN, Anton, who was born in Vienna in 
1808, studied from nature, and under the instruction 
of Méssmer at the Academy. After being instructor 
in drawing to Count Apponyi in Hungary, he settled 
in Vienna, and became famous as a landscape 
painter. He died there in 1871. Among his most 
important works are the following: 


See 


Cloister of the Convent ‘ Maria Schein,’ in Bchemia 


1838. 

Forest Scene. 1840.: 
Marshy Landscape. 
Evening Landscape. 
Spring in a Forest. 


The Mill. 1851. 

Altmann executed landscapes in water-colour ; 
and also etched from his own designs. 

ALTMANN, Kart, who was born at Feucht- 
wangen in 1800, studied from 1819 to 1822 in the 


1846. 
1847. 
1851. 


a 
, 
§ 
‘ 
j 
P 
r 


a 


w represented scenes from Bavarian peasant life, 


_ Stanzioni. 
_ in his pictures, contrary to Stanzioni’s practice. 


, Z 


‘Academy at Dresden. He then went to Munich, 
where he resided until his death in 1861. He 


_ with much humour and originality. 


_ALTOBELLO, Francesco AnTonio, a Neapo- 


_ litan painter of the 17th century, was a scholar of 


Carlo di Rosa, who had studied under Massimo 
Altobello used ultramarine excessively 


ALTOBELLO pa MELONE. See Mrtonz. 
ALTOMONTE, Anprza, perhaps a son of Mar- 


tino Altomonte, flourished at Vienna from about 


1728 to 1763, at which date he was draughtsman 
to the Hoftheater. He engraved Teniers’s pic- 
ture of ‘Abraham and Isaac kneeling to sacrifice 


_ the ram,’ in Prenner’s ‘ Vienna Gallery.’ 


ALTOMONTE, Martino. See HoHENBERG. 
ALTZENBACH, WixHELM, an engraver, who, 
according to Heineken, flourished about the middle 


_ of the 17th century. He worked at Strasburg, 


Cologne, and Paris, and, in conjunction with his 


| : son, executed twenty plates of Bible subjects. 
| ALUNNO, Niccoid.” See Liszratore, Niccond 


DI. 
ALVAREZ, Lorenzo, studied at Valladolid and 
Madrid under Bartolomé Carducho; he established 
himself at Murcia, about 1638, and executed several 
works of merit in the convents there, 

ALVAREZ, Luis, was born at Oviedo in 1841, 
and studied at the Higher School of Painting, 
Madrid, and under Raimundo Madrazo. In 1857 
he went to Rome, and later on became a Director 
of the Museum of the Prado, Madrid. He obtained 
medals at Madrid in 1862, 1864 and 1890, and 
at Munich, Berlin, and Paris in 1890. Two of his 
works are in the Museum of Modern Art, Madrid, 
and many in private coljections.in America. He 
died in 1901. . 

AMALTEO, Girotamo, the brother of Pomponio, 
was instructed by him, and gave proofs of a noble 
genius, which is manifested in his works of design 
in small pictures, which appeared like miniatures, 
in several fables executed in fresco, and in altar- 
pieces which he painted in the church of San Vito. 
He is highly commended by Ridolfi and Renaldis. 
He flourished in the 16th century, and died when 
still young. Graziano, in his poem of ‘ Orlando,’ 
styles him ‘‘ Girolamo Amalteo de vita santa.” 

AMALTEO, Pomponio, who was born at San 
Vito, a town in Friuli, in the year 1505, was the 
scholar and subsequently son-in-law of Porde- 
none. He painted several historical works in 
fresco in the churches and public places in the 
vicinity of Friuli. At Belluno, there are some 
pictures painted by this master, it is said in 1529, 
representing subjects of Roman history. In 1532 
he was employed at Udine, and in 1533 he painted 
for the duomo of San Vito, a votive St. Roch, 
with §S. Apollonia, Sebastian, and two other 
Saints. In the choir of the church of Santa Maria 
de Battisti, at San Vito, are frescoes by him, dated 
1535, representing scenes from the ‘Life of the 
Virgin,’ &c., which are now much injured by time 
and decay. In 1555 he painted-the organ shutters 
at Udine, with scenes from the ‘ Life of Christ ;’ 
and in 1576 he executed ‘The Entombment,’ in 
the Monte di Pieta at Udine. Many of the churches 
and public buildings in and around Friuli and 
Treviso possess frescoes and paintings by him. 
The frescoes of ‘Daniel and Susanna,’ and the 
* Judgments’ of Solomon and Trajan, in the town- 
hall at Ceneda, supposed by Ridolfi to have been 


PAINTERS AND ENGRAVERS, 


painted by Pordenone, were really the work of 
Amalteo, and finished by him in 1536. He died 
at San Vito, in 1584. 

AMAND, Jacques Francois, who was born at 
Gault, near Blois, in 1730, studied under Pierre, 
and became a good historical painter. In 1756 
he gained the Prix de Rome for his ‘Samson and 
Delilah ;’ he afterwards exhibited at the Salon 
numerous subjects from ancient history and 
mythology. He also engraved several of his own 
compositions. He died at Paris, in 1769. 

AMANN. See Amman, 

AMATO, Franczsco, an Italian engraver of the 
17th century. Of his paintings little is known ; 
but he has left some slight etchings, which are 
executed with spirit, in the style of Biscaino, 
among which are the following: | 

St. Joseph seated, reading a book, with the Infant Jesus 

near him—an upright plate; inscribed Franciscus 
Amatus, inv. 

The Prodigal Son. 

AMATO, Giovannt ANTONIO pD’, called ‘the 
elder,’ was born at Naples about the year 1475. 
He was the disciple of Silvestro Bruno, or Buono, 
an old Neapolitan painter then in repute, but did 
not study long under him, as the latter died when 
Amato was young ; he afterwards applied himself 
to the study of the works of Pietro Perugino, 
whose manner he followed. There are several of 
his works in the churches at Naples. In San Do- 
menico Maggiore, in the chapel of the family of 
Carraffa, is a picture by this master of ‘The Holy 
Family.’ He worked both in oil and in fresco, 
and, being an artist of considerable eminence, 
had a great number of scholars, amongst whom 
were Giovanni B. Azzolini, Pietro Negroni, Simone 
Papa the younger, Cesare Turco, and others. 
Though professionally a painter, his favourite 
study was theology ; and he was celebrated for 
his expositions of many obscure passages of Scrip- 
ture. He died in 1555. 

AMATO, Giovanni ANTONIO D’, ‘the younger,’ 
nephew .of the elder Amato, was born at Naples, 
in 1535. He excelled chiefly in colouring, and 
some of his pictures are as richly coloured as those 
of Titian. His best work is the large altar-piece 
of the Infant Christ in the church of the Banco de’ 
Poveri at Naples, in which city he died in 1598. 

AMATRICE, Deti’. See Detu’ Amarrice. 

AMAYA, —, an historical painter, scholar of 
Vincenzo Carducho, and rival of Lorenzo Alvarez, 
painted at Segovia, in 1682, several pictures illus- 
trating the Life of St. Martin, remarkable for their 
correct design and colour. He died about 1690 
or 1692. 

AMBERES, Francisco DE, a painter and sculp- 
tor of Toledo, the cathedral of which he orna- 
mented with his pictures in 1502. From 1508 to 
1510 he painted, in conjunction with Juan de Bor- 
goa and Juan de Villoldo, the arabesque chapel, 
which is still an interesting object. 

AMBERES, Mieue. pE—called in Spain, MIcuEL 
EL FLAMENGO—is also the same person as MIGUEL 
MAnnrIQUE. He was born in Flanders, and learned 
his art there under Rubens, and afterwards, at 
Genoa, from Giovanni Andrea de’ Ferrari, and 
Cornelis Wael. He subsequently obtained a com- 
mission as captain of a troop in the Spanish service, 
and went to Spain and settled in Malaga, where 
are several works by him in the churches and else- 
where. His portraits are executed in a style 
similar to that of Van Dijck. Miguel de pe 


died in Spain in the latter half of the 17th cen- 


tury. : 

AMBERGER, CHRISTOPH, was born about the 
year 1490, or later. Nuremberg, Ulm, and Am- 
berg are all given by various authors as his birth- 
place ; and some writers say he studied under his 
father, one Leonhard Amberger. Certain it is, 
however, that Augsburg was the scene of his 
labours. He was, Doppelmayer says, the disciple 
of Hans Holbein the elder. He probably studied 
under Hans Burgkmair, and the paintings of Hans 
Holbein the younger had an evident effect on his 
style, so much so that his works have been some- 
times mistaken for those of Holbein. He painted 
a set of twelve pictures representing the ‘History 
of Joseph and his Brethren,’ which gained him 
great reputation. He succeeded, however, better 
in portraits than historical subjects. In 1532 he 
painted the portrait of the Emperor Charles V. ; 
and Sandrart tells us that this portrait was con- 
sidered by that monarch equal to any of the 
pictures painted of him by Titian. He certainly 
honoured the artist by giving him a gold chain 
and medal on the occasion. The original is in the 
Institute of Fine Arts at Siena, and is there ascribed 
to Holbein. The one at Berlin is a replica, by 
Amberger, He died at Augsburg, in 1563. From 
amongst Amberger’s pictures, which are rarely 
signed, the following may be selected as some of 
the best : 


Augsburg. Cathedral. Virgin and Child. 
Berlin. Museum. Portrait of Charles V. (signed). 
» Portrait of Sebastian Minster (dated 


1552). 
Frankfort. Stédel. Portrait of a young man. 
Vienna. Gallery. 


Portrait of Martin Weiss (paznted an 
1554). 
Six other portraits. 


99 3? 


AMBLING. See Amine. 

AMBROGI, Domenico, called MENICHINO DEL 
Brizio, from the master under whom he studied, 
Francesco Brizio, was born at Bologna, about 
the year 1600, and distinguished himself as a 
painter of history, both in oil and in fresco. He 
also excelled in representing landscapes, and per- 
spective and architectural views, and was much 
employed in the churches and palaces at Bologna. 
In the Uffizi there are two landscapes containing 
sacred subjects by him. In San Giacomo Mag- 
giore, 1s a picture by Ambrogi of the ‘Guardian 
Angel, and in the Annunziata, ‘St. Francesco,’ 
with a glory of angels. In 1653 he published 
some woodcuts, from his own designs, printed in 
chiaroscuro, of which one, mentioned by Heineken, 
represented a woman in a triumphal car, holding 
two flambeaux and a serpent, and conducted by 
N eptune. By him are also a drawing for the Thesis 
of Julius Calaverius, and ‘ Painting and Sculpture.’ 
Amongst the pupils of Ambrogi were Giacinto 
and Pier Antonio Cerva, Giovanni Antonio Fumi- 
ani, and Giacinto Campana. 

AMBROGI, Marco pratt. See DeGu AMBROGI. 

AMBROZY, Wenzen BERNHARD, who was born 
at Kuttenberg, in Bohemia, in 1723, received in- 
struction in art at Prague from his brother Joseph, 
who was a miniature painter. He was court- 
painter to Maria Theresa, and the last president of 
the Painters’ Guild at Prague. He painted por- 
oe and altar-pieces in oil ; but was also famous 


tee 
a! 


A BIOGRAPHICAL DICTI 


U 4 x a af Pe a ‘@ eee 
for his frescoes, which adorn many of the 
and castles of Prague, and other places in | 


He died in 1806. __, : ae 
AMEDEE ve NOE (‘Cam’). See Nok. 
AMELSFOORT, QuIRINUS VAN, was born at Bois- 

le-Duc in 1760, and died there in 1820, He painted 

allegories, history, and portraits ; in the last the 
likenesses were remarkable for their truth, 
AMERIGI, MicueL ANGIOLO, DA CARAVAGGIO, / 

(or AMERIGHI, or MoriG1), was born at Caravaggio, “ 

a village in the Milanese, in 1569. He was the son - 

of a mason, and was employed when a boy to pre- — 

pare the plaster for the fresco painters at Milan. — 

The habit of seeing them work inspired him with the | 

ambition of becoming an artist ; and without the — 

instruction of any particular master, he attached — 
himself to a faithful imitation of nature, and 
formed to himself a manner which, from its singu- — 
larity, and a striking effect of light and shadow, — 
became extremely popular. For a few years he — 
confined himself to painting fruit, flowers, and 
portraits, which were much admired for the fidelity _ 
of their resemblance. Such was his rigid ad- — 
herence to the precise imitation of his model, that — 
he copied nature even in her deformities, and he 
afterwards continued the same slavish mechanism 
in the higher department of historical painting. 

After five years of steady application in Milan, — 

Caravaggio removed to Venice, where he greatly _ 

improved his colouring by studying the works of ~ 

Giorgione ; and the pictures painted in his earlier _ 

manner are infinitely preferable, in point of colour, 

to his later works. From Venice he went to Rome, — 
in which city, finding himself, through poverty, _ 
unable to gain a livelihood as an independent — 
painter, he engaged himself to Cesare d’Arpino, 
who employed him to execute the floral and orna- 
mental parts of his pictures. Caravaggio, how- 
ever, was soon enabled to paint for himself. The 
novelty of his manner both pleased and surprised; 
and his works soon became so generally the objects 
of public admiration, that some of the greatest 
artists then in Rome were induced to imitate, with- __ 
out approving, the new style of Amerigi. Guidoand 
Domenichino, to gratify a corrupt public taste, were 
for some time under the necessity of abandoning 
their suavity and their grace, to follow this vulgar __ 
though vigorous trickery of Caravaggio. This in- — 
fatuation did not, however, continue long; the 
attractions of the grand and the beautiful resumed __ 
their sway over public opinion. After executing 
many important works, Caravaggio was obliged to 
leave the city on account of the death of a friend, 
whom he had killedin a fit of anger; he repairedto _ 

Naples, whence he went to Malta, where he was 

patronized by the grand-master Vignacourt, whose __ 

portrait he twice painted. Once more, through 
his hot and fiery temper, Caravaggio was driven _ 
from the town of his choice. He quarrelled with _ 

a knight, who threw him into prison. Caravaggio, 

however, escaped from captivity and fled to Syra- 

cuse, whence he went to Naples by way of Messina 
and Palermo. Having obtained, through the in- 

fluence of his friends, the Pope’s pardon for the 
manslaughter of his companion, Caravaggio set 

sail from Naples for Rome, but he was taken — 
prisoner on the way by some Spaniards, in mistake _ 
for another man. On being set at liberty, he had 
the misfortune to find that the boatmen had gone 
off with the felucca and his property. He con- 
tinued his way as far as Porto Ercole, where, partly 
from his loss, and partly from the heat of the 


.. MICHEL ANGIOLO AMERIGHI 


CALLED 


CARAVAGGIO 


Hanfstingl photo| [ Vienna 
THE LUTE-PLAYER 


aa y ’ 


. Dale 
x i " a 
‘ ol manana a rembcerh ara pa a rons 
eg et i a ~ os 


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- 


7 


weather, he was taken ill, and died in 1609. The 
merit of Caravaggio is confined to colour, and to 
an extraordinary effect, produced by a daring con- 
trast of light and shadow, which only belongs to 
nature in abstracted situations. To give it veracity 
we must suppose the light to proceed from a 
partial and prescribed aperture, which alone can 
_ gustain the illusion. He seldom ventured on 
‘works that required the arrangement of a grand 
composition, for which his wantof academic study 
rendered him totally inadequate; he contented 
himself with subjects he could represent in half- 
length figures, and which did not demand a correct 


delineation of the nude. 


Berlin. Museum. Love as aruler; Conquered Love; 
; Phyllis (from the Giustiniant 
Collection). 
Dresden. Gallery. Card-players; Four others. 


London. Nat. Gail. Christ and the two Disciples at 
Emmaus. 
Death of the Virgin ; The Fortune- 


teller; A Concert; Portrait of 
Al 


Paris. Louvre. 


of. 
Petrsburg. Hermitage. Ecce Homo; Martyrdom of St. 


; Peter. y 

Rome. 8. Maria del } Martyrdom of St. Peter; RA 
Popolo. Conversion of St. Paul. 

: » Vatican Mus. The Entombment (his masterpiece). 


AMERLING, FRIEpRIcH, painter,.was born at 
Vienna, April 14,1803. After some hard struggles 
occasioned by narrow means, he succeeded in 
entering the Vienna Academy as a pupil, and 

completed his training under Lawrence in London 
-and under Vernet in Paris, On his return to 

Vienna he gained the first prize at the Academy 

with his ‘Dido forsaken’ and ‘Moses the Law- 

giver.’ He several times visited Italy. He became 

a very popular portrait painter in his native city, 

but continued to paint occasional historical and 

subject pictures. Among his best known works in 
each genre we may name: portraits of himself, of the 

Emperor Francis I., of Thorwaldsen, of Franz Grill- 
- parzer, and of Prince Windischgratz, also ‘ Judith,’ 

‘Ophelia,’ ‘The Widow,’ ‘Roman Woman with her 

Infant.’ Amerling was a member of the Vienna 

Academy. He died at Vienna in January, 1887. 

AMICI, Franczsco, was an Italian engraver, of 
Florence, of the 18th century, who engraved some 
small plates of sacred history subjects, among 
which are: 

Christ on the Mount of Olives; Christ before Pilate; 

Christ bearing His Cross; The Entombment of Christ, 

AMICO. See ASsPERTINI. 

AMICO pi SANDRO. See FILiperi. 

AMICONI. See Amicon1. 

AMIDANO, GtuLio CzsarE (wrongly called 
PoMPONIO), was a native of Parma, and painted 
from about 1560 to 1628. From the resemblance 
of his works to those of Parmigiano, he is sup- 
posed to have frequented his school. If not his 
disciple, he was certainly one of the most success- 
ful followers of his style. His heads are noble 
and graceful, and his design full of taste. His 
best performance was his picture painted in the 
church of the Madonna del Quartiere, which has 
been mistaken by good judges for the work of 
Parmigiano. Orlandi relates that many of the 
pictures of Amidano were purchased by foreigners. 

AMIEL, Louis FkurIx, a French portrait painter, 
was born at Castelnaudary (Aude) in 1802. He 
was a pupil of Baron Gros, and died at Joinville- 
le-Pont in 1864. 

AMIGAZZI, Giovannt BATTISTA, a painter of 

D 


PAINTERS AND ENGRAVERS. 


Verona, who flourished about the middle of the 
17th century, was a scholar of Claudio Ridolfi ; 
his chief talent consisted in the excellence of his 
copies, and several of his works have been mis- 
taken for those of his master. A copy which he 
made of Paolo Veronese’s ‘ Supper in the House of 
the Pharisee’ is not only finely drawn, but its 
sce, are fresh and vivid even at the present 
ay. 

AMIGONI, Jacopo, (or AMiIconr), was born at 
Venice in 1675. He painted historical subjects 
and portraits. His first works at Venice were 
two altar-pieces in the church of the Fathers of the 
Oratorio, and a picture of ‘St. Catherine and St. 
Andrew,’ for the church of St. Eustache. He 
afterwards visited Rome, and from thence went to 
Munich, where he settled for some time; but his 
chief performances are in England, whither he came 
in 1729; he resided here ten years. Whatever may 
be the merit of his works, they were for some time 
in great vogue. He was employed by several of 
the nobility in ornamenting their houses. After 
leaving England in 1739 he returned to Venice, 
where he remained till 1747; he then went to 
Spain, and resided there until his death, which 
took place at Madrid in 1752. He etched a few 
plates in a tame, spiritless style; the following are 
the principal : 

Salvator Mundi; half length. 
Jupiter and Callisto. 
Zephyrus and Flora. 
Bathsheba in the Bath. 
Madonna and Child. 
Narcissus. 

AMIGONI, Orravio, (or AMICONI), was born at 
Brescia in 1605, and was a scholar of Antonio 
Gandini. His chief excellence was in fresco 
painting, which he treated with great ability, in 
the manner of Paolo Veronese. In the Carmelite 
Church, in his native city, is a very considerable 
work in fresco, executed in conjunction with 
Bernardino Gandini, the son of his master, which 
is much extolled by Averoldi. The subjects were 
taken from the Life of St. Alberto. He died in 
1661. 

AMIL, G. P. p— tA VILLA. See De xa VILLA- 
AMIL. 

AMLING, CarL GusTaAv, (or AMBLING), a 
draughtsman and engraver, was born at Nurem- 
berg in 1651. He was taken under the protection 
of Maximilian II., Elector of Bavaria, who sent him 
for improvement to Paris, where he received the 
instruction of F. de Poilly, whose manner he fol- 
lowed, but whose excellence he never equalled, 
although he became a very good artist. Aftera 
few years he returned to Munich, and was ap- 
pointed court-engraver to his patron, Maximilian 
Emmanuel, whose portrait he engraved, as well as 
those of many members of the electoral family. 
Amling died in 1703. He engraved a great num- 
ber of plates of historical subjects and portraits, 
but was much more successful in the latter, many 
of which have great merit. His drawing, par- 
ticularly in the nude, is not correct ; and in all his 
prints, except his portraits, there is a want of effect. 
The following list comprises all his plates, except 
those he engraved for the academy of Sandrart, 
and some prints after tapestry, which were private 
plates in the possession of the Elector of Bavaria: 


PORTRAITS. 


Maximilian Emmanuel, Elector of Bavaria; after T. 
Macolinus, dated 1670, an oval very scarce. a 


A BIOGRAPHICAL DICTIONARY OF 


Maximilian Emmanuel ; after J. B. Champagne ; one of 
his best works. 

Equestrian statue of Maximilian Emmanuel ; after 4b- 
leitner. 

Henrietta Maria Adelaide, Duchess of Bavaria; after 
Delamonce, 1675; oval. 

Ferdinand Maria, Duke of Bavaria, 1676; oval. 

Count Johann von Berlo de Brus, Stadtholder of In- 
goldstadt, 1680; large oval. 

Alexander Sigismund, Bishop of Augsburg; P. F. 
Hamilton, pink. ; 
Romain Liberiet, Abbot of St. Ulrich, Afra, and in 

Augsburg; after himself ; a fine portrait; oval. 
Petrus Marinus Sormannus; in a medallion. 
Livio Prince Odescalchi ; in a medallion. 
Marcus ab Aviano, 1680; oval, 
A young prince conducted to the throne by Hercules 
‘and Nestor; at the foot of the throne is inscribed, 
Ungaria. 
Two plates of statues ; engraved for Sandrart’s Deutsche 
Akademie. 


SACRED AND HISTORICAL SUBJECTS. 

The Virgin and Child, with two portraits; after J. A. 
Wolff; a very large plate. 

The Image of the Virgin of Consolation; 1682; large 
plate, oval. . 

Vero Ritratto di S. Francesco d’ Assisi. 

St. Nicholas of Tolentino; after J. A. Wolff, 1691; 
large plate. 

Vrai Portrait de St. John de §. Facundo; after the 
same; large oval. 

St. Godard kneeling before the Virgin; J. Drentwet, 
del 


Ten plates in folio—Of a triumphal arch in honour of 
the Elector Maximilian Emmanuel. 

Grand Thesis, dedicated to the Emperor Leopold and 
his son Joseph; R. P. Antonius Lumlinsky, del. 

Another large plate, representing the Virgin Mary 
treading on the Serpent, accompanied by the four 
Doctors of the Church. 


AMMAN, JrrRemiAs, an engraver of portraits, 
who worked at Schaffhausen from about 1660 to 
1670, executed, in conjunction with his son, Johann 
Amman, the plates to Patin’s Jmperatorum Ro- 
manorum Numismata (1671), chiefly from the 
drawings of F. Chauveau. 

AMMAN, Jowann, ason of Jeremias Amman, 
was a native of Schaffhausen, and flourished about 
the year 1700. He engraved a few portraits, 
among which is one of John Locke. 

AMMAN, JoHANN, a German engraver, who 
was living at Hanau about 1640. Previously he 
engraved a set of small woodcuts, representing 
the Passion of our Saviour, They are executed in 
a neat and spirited style, and possess considerable 
merit. They were published at Amsterdam in 
1623, with Latin verses. 

AMMAN, Jost, was a painter as well as en- 
graver, but owes his reputation chiefly to his 
excellence in the last-mentioned branch of art. 
He was born at Zurich in Switzerland, in 1539. The 
name of his instructor in art is not recorded. In 
1560, he left Zurich, and went to Nuremberg, 
where he worked until his death, in 1591. Of his 
paintings we have no further account, than that 
his works in stained glass were richly and bril- 
liantly coloured. His pen-drawings partake of the 
spirit and neatness of his prints, and are preserved 
in the portfolios of the curious. As an engraver, 
he was one of the most laborious of the industrious 
artists of his country, who have so ably and amply 
contributed to the advancement of the art. The 
number of his plates is prodigious, and his work 
amounts to upwards of five hundred and fifty 
prints, many of which being of a diminutive size, he 
is ay ae ranged among the artists denominated 


the Little Masters. He engraved on wood and on 
copper, but the productions from the latter are 
very inferior to those from the former, His draw 
ing, in general, is tolerably correct; and his exe- 
cution, particularly in his animals, is smart and 


spirited ; his manner of engraving is neat and 


decided. This artist used no less than twelve dif- 


ferent marks in his plates, but they all consist ina _ 


cipher composed of the letters J and A, as follows: 


CH XL XA CDo VL 


COPPER PLATES. 


Twelve small plates, arched—Of illustrious women 


of the Old Testament, beginning with Eve: title, 


Eva die Gebererin. Jost. Amman, fec.; Stef. Herman, - am 


CXC. 

Eight figures of warriors in ancient costume, small 
upright plates ; marked, Jost. Amman, Inventor. 1590. 

Eight plates—Of persons fighting with swords and 
sticks; small plates, lengthways; marked with his 
cipher. ‘ 

Six very small plates of friezes, Hunting scenes. 

Eight small plates, lengthways, the Four Seasons, and 
the Four Elements. 1569. . 

Twelve small upright plates arched—Of the months 
in the year, represented in full-length figures; Jo, __ 
Amman, fee. . ia 

<p of plates for a Bible published at Frankfort. 
571. 

The Bombardment of a Town; Jo. Amman, fec. 1570. 
Large plate, lengthways. ; 

Admiral de Coligny ; fecit Norimberge, Jost. Amman, 
Tigurinus. 1573. 

WOODCUTS. 

The Creation, large print; marked J. A. 

An oval print, the Diet of the Empire; large, length- 
ways. 

ane pee of Cana middle-sized print, lengthways, 


A set of one hundred and fifteen prints of arts and 
trades, first printed under the title, Tavom)a, om- 
nium tllberalium, mechanicarum, aut sedentariarum 
artium genera continens, printed at Frankfort in 1568. 
This edition is very scarce; the book was reprinted 
in 1574. . 

A set of one hundred and three prints of subjects from 
Roman History, published at -Frankfort, in 1573, 
with the portrait of S. Feyrabend, the celebrated 
bookseller. . 

A book of hunting; entitled Newe Figuren von allerlet 
Tag und Weidtwerck. Frankfort, 1582. 

A set of one hundred and three prints for a work en- — 
titled Cleri totius Romane LKeclesie subjecti, ge. 
Frankfort. 1585. 

A set of one hundred and twenty prints for a book 
entitled Gyneceum, sive Theatrum Mulierum, ge. 
Frankfort, 1586. 

A complete list of his works is given in Meyer’s 

‘ Kiinstler-Lexikon.’ 
V2 br Wt eee 

AMMON, KLEmMENs, a son-in-law of Theodor de 
Bry, the celebrated engraver, worked in Frankfort 
and Heidelberg, in the middle of the 17th century. 
His principal work was the continuation of the 
collection of portraits entitled, Bibliotheca Cal- 
cographica, in six quarto volumes, published by 
Theodor de Bry, to which he added, at Frankfort, 
two volumes, published in 1650 and 1652. His 
plates are poor and stiff, and very inferior to those 
of his relation. 

AMOROSI, Antonio, a native of Comunanza, 
near Ascoli, flourished aboutthe year1700. Mariette 
says he was born in 1660. He was still living in 
1736. He painted frescoes in Civita Vecchia, and 
altar-pieces for the churches at Rome, one of which 
is in San Rocco; but he is principally known as 
a painter of Bambocciate, or fancy subjects, in 


. 


: 
: 


- of cloisters and churches. 


became a pupil of Hess, at Munich. 
he arrived in Rome, and formed friendships with 


PAINTERS AND ENGRAVERS. 


_ which he displayed considerable talent: and Lanzi 
_ says, that if his colouring had been a little more 
_ brilliant, his pictures would be equal to those of 
_ the Flemish school of the same kind. Two of his 
_ works have been engraved by William Walker. 


AMORT, Kaspar, who was born in 1612 in the 


valley of the Jachenau, went to Munich in 1631, 


and studied art under Johann Donauer. He then 
paid a visit to Italy, where the works of Cara- 
vaggio produced much effect on his style.’ On 
his return to Munich he was made court painter, 
and executed numerous works for the decoration 
He died at Munich in 
1675. 

AMSLER, SAMUEL, an eminent engraver, was 
born in 1791, in Schinznach, in Switzerland, and 
In 1816 


Overbeck, Cornelius, Thorwaldsen, and other heads 
of the new school, of which he became a member. 
Accuracy and character in outline, and simplicity 
in execution, after the classical examples of Marc- 


_ Antonio and Albrecht Diirer, were the principles he 


followed in contradistinction to the picturesque, 
but in form and expression negligent, engrav- 


- ings of the modern Italian, French, and English 


schools. In this manner, in conjunction with his 
friend Barth, he engraved the great frontispiece 
of the ‘ Nibelungen’ of Cornelius, and the ‘Triumph 
of Alexander’ of Thorwaldsen. In 1829 Amsler 
became professor of engraving in the Royal Aca- 
demy in Munich, where Cornelius, Schnorr, Hess, 
and other of his friends were already actively 
engaged. Besides different small works which he 
executed in Munich, he engraved Raphael’s ‘ En- 


tombment of Christ,’ in the Borghese Gallery of 


Rome ; ‘ The Holy Family,’ and.‘ The Madonna di 
Casa Tempi,’ by the same master, both in the 
Pinakothek. His last work was an engraving of 
the great painting of Overbeck, in Frankfort, ‘The 
Union between Religion and the Fine Arts,’ the 
completion of which coincides nearly with that of 
his life. He died on the 14th of May, 1849. He 


_ was not only an excellent artist, and an estimable 


- man, kind, modest, and very good-natured, but also 


an admirable instructor of his art, who taught a 
number of pupils, now celebrated engravers ; as 
Merz, who engraved ‘ The Last Judgment,’ of Cor- 
nelius, and ‘ The Destructionof Jerusalem,’ of Kaul- 
bach ; Gonzenbach, the author of different 
engravings after Kaulbach, Schleich, &c. A 
In Meyer’s ‘Kinstler-Lexikon’ is a full list 

of Amsler’s works. 

AMSTEL, Cornetis PLOOS van. See PLoos. 

AMSTEL, JAN VAN, an artist who is said to 
have excelled in landscapes, which he enriched 
with numerous figures in the style of Van Eyck ; 
but when or where he painted is not recorded. 
Guarienti, in his edition of Orlandi, states that 
there was a picture by this artist at Genoa, in the 
possession of an Englishman, representing the 
Crucifixion, and containing upwards of 200 figures 
admirably painted. It is, however, conjectured 
that some better known painter is disguised under 
this name. 

AMULIUS (or Fasutius), a Roman painter, 
flourished in the reign of Nero. He was employed 
in the embellishment of the golden house of that 
emperor, who is said by Suetonius to have himself 
studied the art of painting. The palace became 
a prey to the flames. Pliny represents him asa 
painter of common-place subjects, ‘humilis ree 


prctor ;” yet he mentions a picture of ‘ Minerva,’ 
Lhe cannot be considered to have been a trivial 
work, , 

ANCINELLI. See Torre. 

ANCONA, AnprEA pd’. See Lito. 

ANCONITONA, L’. See Bonrnt. 

ANDERLINI, Domenico, a landscape painter, 
born at Pesaro, flourished about 1720: he was an 
artist of merit. 

ANDERLONI, Faustino, an engraver, born at 
St. Eufemia, near Brescia, in 1766, received in- 
struction from two artists comparatively unknown 
—Carloni and Benezzi. He subsequently went to 
Pavia to assist Professor Scarpa in illustrating his 
great work on the Anatomy of the Eye. In 1795 
he went to Milan, but in 1801 he was appcinted 
professor of drawing at the University of Pavia. 
He died in 1847. He engraved the illustrations of 
several scientific works, and the portraits of the 
celebrated Herder, Alfieri, Boerhave, and Schiller. 
At a later date he executed a small but charming 
engraving of the ‘ Magdalene Sleeping in the 
Wilderness,’ after Correggio; the ‘Repose in 
Egypt,’ after N. Poussin; a ‘ Mater amabilis,’ 
after Sassoferrato, and with Garavaglia the ‘ As- 
cension of the Virgin,’ after the painting by Guido 
Reni in the church of Sant’ Ambrogio in Genoa; 
which he did not complete until his seventy-sixth 

ear. 

ANDERLONI, Pierro, brother of Faustino, was 
born in 1784, at St. Eufemia, near Brescia, and 
showed an early predilection for art. He studied 
the fundamental principles under P. Palazzi, and 
next received instruction from his brother Faus- 
tino, who, observing that he vacillated between 
painting and engraving, persuaded him to adopt 
the latter art. After greatly profiting by his 
brother’s tuition, he entered, at the age of twenty, 
the school of Longhi, where he remained for nine 
years. Under that eminent master he assisted in 
the production of many excellent works, among 
which was ‘ Ezekiel’s Vision,’ after Raphael; and 
to some of these the master allowed the pupil to 
place his name, in acknowledgment of the share 
he had in the execution. In 1824 he went to 
Rome for the second time, to make drawings of 
the ‘ Heliodorus’ and ‘ Attila’ of Raphael; and 
in 1831 succeeded his master Longhi as president 
of the Academy of Engravers in Milan. Pietro 
Anderloni was a member of several Academies, 
and held a very distinguished rank among his 
skilful contemporaries in the art. He died at 
his estate of Cabiate, near Milan, in 1849. He is 
generally very happy in embodying the character- 
istics of the master whose picture he transfers ; 
his fault is sometimes a near approximation to the 
modern French manner of working too far and 
producing glossiness. The following are among 
his principal works: 


Moses defending the daughters of Jethro; after NV. 
Poussin. a 

The Adoration of the Shepherds; after Titzan. f 

A Holy Family, the Judgment of Solomon, the Helio- 
dorus, and the Meeting of Attila and Pope Leo III. ; 
after Raphael. 

St. John; after Luine. De 

Portraits of Canova, Longhi, Appiani, Jenner, Xc. 


ANDERSON, ALEXANDER, who was born at 
New York in 1775, was the son of a Scotchman, 
and the earliest engraver on wood in America. 
He first studied medicine—obtaining in 1796 the 
degree of Doctor—but abandoned that Bees 


Pi at ge Pee: Ce ke Pears ano ei 
j i . Sara) 4 


A BIOGRAPHICAL DICTIONARY OF 


in order to devote himself entirely 10 engraving. 
Among his most important are those in Webster's 
‘ Spelling Book,’ Bell’s ‘Anatomy,’ Josephus’s ‘ His- 
tory,’ and Shakespeare’s Plays, all from original 
designs. An engraving of the ‘ Last Supper’ (from 
an English design), which was made between 1820 
and 1830, was the last work he produced on copper. 
He afterwards confined himself to wood engraving. 
Anderson worked on to a very great age, and died 
in Jersey City in 1870. His works are in the 
style of English wood engraving of the earlier 
part of the 19th century. (For a full account of 
his life, see ‘ Art Journal’ for 1858, p. 271.) 

ANDERSON, Ropert, born in 1842, was a 
Scottish engraver of some repute. In the latter 
part of his life he devoted himself to painting in 
water-colour. He was elected an Associate of the 
Royal Scottish Academy in 1879, and died in 
Edinburgh, April 24, 1885. 

ANDERSON, Wiu14m, who was born in Scot- 
land, in 1757, was a painter of marine subjects, 
chiefly of small dimensions. His subjects are 
treated in a very pleasing manner, with a soft 
pencil and great amenity of colour. He exhibited 
at the Royal Academy from 1787 to 1814. He 
died in 1837, 


born in East Gothland, in 1817, was the son of 
a peasant. After he had received a course of 
instruction in Stockholm, he travelled through 
Europe, and went in 1854 to Paris, where he 
stayed for two years, and studied under Couture. 
On his return to Stockholm, he was made a mem- 
ber of the Academy, and in 1858 a professor. He 
died at Vaxholm, near Stockholm, in 1865. He 
painted historical pieces, pictures of genre subjects, 
and landscapes with animals. Good examples of 
his work are in the National Museum at Stockholm. 

ANDERTON, Henry, an English painter, who 
was born in 1630, was a scholar of Streater, and 
afterwards went to Italy for improvement. He 
painted historical subjects and portraits, but was 
principally employed in the latter. He acquired 
the patronage of Charles II. by a portrait he 
painted of Mrs. Stuart, afterwards Duchess of 
Richmond, and almost rivalled Sir Peter Lely. He 
died soon after the year 1665. 

ANDRE, Jean, (or ANDRAY), who was born in 
Paris, in 1662, became a Dominican in 1679. He 
went to Rome, where he received lessons from 
Carlo Maratti, and studied the works of Michel- 
angelo and Raphael. He painted portraits and 
historical subjects, and has the character of being 
very correct in his designs, and a good colourist. 
He died at Paris in 1753. Amongst his best 
works may be mentioned the ‘ Feast of the Phari- 
see,’ in the Dominican Church at Lyons; his own 
Portrait, in the Louvre; the ‘Marriage of Cana,’ 
and the ‘ Miracle of the Loaves,’ at Bordeaux ; and 
the ‘ Adoration of the Kings,’ and numerous others 
which he painted in various churches in Paris. 
André imparted instruction in art to Taraval, 
Chasle, and Dumont. 

ANDRH, JuLes, who was born in Paris in 1807. 
studied under Jolivard and Watelet, and became 
a landscape painter of merit. He travelled in 
Belgium, the south of France, and the Rhine 
country ; and he was also employed at the porce- 
lain manufactory at Sévres. He died at Paris in 
1869. The Galleries of the Luxembourg and Lille 
possess paintings by him. He executed geveral 
CoP Ase panels in the new Louvre, and in the 


// ANDREA DEL Sarro, from the profession of his 
ANDERSSON, Nits, a Swedish painter, who was 


veh are ha eA wy Venti zi 
¢ * ay = ere 38 Pe ye. “i 
an ° oe a Rae be El ie “ee 


Pe a Boa ay 
Hotel d’Albe. He obtained a second-class medal 
in 1835, and the decoration of the Legion of 
Honour in 1853. André painted in a manner half- 
way between the style of the old French classic 
landscape painters and that of the modern school. 
His son, EpmMonpD MarrHEe ALPHONSE ANDRE, who 
studied under him, and with Pils, became a genre 
painter of some repute. In 1876 he painted a 
‘Halt of Zouaves at Patay.’ He died in Algiers — 
in 1877. } 
ANDRE, 8. R. pe SAINT. See Sainr-ANDRE, 
ANDREA, ALEssANDRO, according to Heineken, © 
flourished about the year 1578, at which time he © 
engraved the portrait of Gilles de Noailles, Abbé — 
de St. Amand, the French ambassador at the court — 
of Constantinople. ae 
ANDREA, Zoan, an engraver of the early part — 
of the 16th century, of whom little is known, is — 
called by Zani, a Venetian. Heexecuteda number ~ 
of plates after Albrecht Diirer and % 

other masters. Meyer mentions 35 737 Ara 
See FLoRENTIA, 


a 


plates by him. 

ANDREA pA FLORENTIA. 
NDREA DA. : 4 
ANDREA vb’ AGNOLO is commonly known as p 


father, who was a tailor. He has till lately been 
miscalled Vannucchi. Giovanni Cinelli, writingin 
1677, was the first to call him by that name. The 
migtake arose through the misreading of Andrea’s _ 
monogram of two A’s for an A and a V_ ; 
crossed, It may be here noted that he is in 
no case called Vannucchi by a contemporary. se 
His name was Andrea d’ Agnolo di Francesco 
di Luca di Paolo del Migliore. He was born at 
Florence in 1487, and, having shown an early dis- 
position for drawing, he was placed with a gold- 
smith, to learn the business of engraving on plate. — 
In this situation he was noticed by Giovanni Barile, _ 
an artist of little note, who persuaded his father to _ 
entrust him to his care. Andrearemained under that — 
master for three years, and afterwards entered the 
school of Piero di Cosimo, who.wasabetter colour- — 
ist than draughtsman, and from him he acquired 
the habit and knowledge of painting those beautiful 
landscape backgrounds which are seen in many of — 
his works. Andrea was, however, more indebted, — 
for the cultivation of his talents, tohisstudiesfrom 
the frescoes of Masaccio and Ghirlandaio, and after- _ 
wards from the cartoons of Leonardo da Vinciand 
Michelangelo, than to the lessons of hisinstructors. _ 
On leaving the school of Cosimo, he formed an 
intimacy with Franciabigio (who had been a dis- 
ciple of Mariotto Albertinelli), and with him he 
lived for some time, but “contemporary history 
contains no reference to anything that they did in 
companionship.” Amongst his first works are 
frescoes illustrating the history of St. John the 
Baptist, in the Scalzo, of which the cartoons are pre- 
served in the Palazzo Rinnuccini. The ‘Baptism 
of Christ’ is in his early manner, and shows an 
undisguised imitation of Albrecht Diirer; in the 
‘Visitation of the Virgin,’ painted a few years 
afterwards, his advancement is conspicuous; and 
in the ‘ Nativity of St. John,’ the last he painted 
of the series, he had nearly reached his most — 
admired style. His next undertaking was the 
‘Life of St. Filippo Benizzi,’ in five pictures,in 
the church of the Servi. In these frescoes, which 
have been engraved by Alchiari, the genius of 
Andrea took a bolder flight, and they are con- 
sidered among the most graceful of his works, 


ANDREA D’AGNOLO 


CALLED 


PING Re Ae) Es Ri 


Alinari photo| [Pztie Palace, Florence 
ST OU N BAPTIST 


ANDREA D’AGNOLO 


CALLED 


ANDREA DEL SARTO 


Morelli photo| [National Gallery, London 
ANDREA DEL SARTO 


by ,his pupil, Andrea Squazella. 
' honoured, and royally treated by the king. He 


the Louvre, and a ‘ Pieta,’ 


“ oh. they were executed while he was still 


| young, and it was their excellence which gained 
for him the title, ‘ Andrea senza Errori’ (Andrea 
without faults).- The ‘Madonna del Sacco,’ 
| painted over the entrance door, is one of his best 
' works. It has received its name from the sack of 
corn upon which St. Joseph reclines. 
_ been well engraved by Raphael Morghen. 


This has 
About the year 1516, a ‘Dead Christ,’ painted 


_ by Andrea, came to the notice of Francis I. of 
_ France, who commissioned the artist to execute 


for him a ‘Madonna,’ and in 1518 Andrea was 
induced to go to Paris. He was accompanied 
There he was 


painted amongst other works a ‘Charity,’ now in 
now in the Belvedere 


at Vienna. In 1519 Andrea was induced by his 


_ wife Lucrezia del Fede, a beautiful woman, whom 
_ he had married in 1512, to ask, in order thct he 
- might return to his native country, leave of absence 


from the king, who granted his request, and com- 
missioned him to purchase works of art for him. 


- On his return to Florence, Andrea forgot his 
‘engagements, and broke through every bond of 


honesty; he had the imprudence to squander 
away in the society of his friends and his impro- 


- vident wife, not only the liberal remuneration he 


had received from Francis for his works, but also 
the funds which had been confided to his trust for 
the acquisition of objects of art. He executed 
numerous works in the Scalzo and elsewhere in 
Florence. But reduced at length to a state of 
indigence and distress, and stung with the recol- 
lection of his perfidy and ingratitude, he sank into 


~ adespondency, which was increased by his jealousy 


of his wife. He was ultimately abandoned by her 
and the false friends with whom he had wasted 
his substance, when his miseries were terminated 
in the forty-fourth year of his age, by the plague 
which visited Florence in 1531. His wife survived 


him, her second husband, by forty years. 


Andrea del Sarto possessed an extraordinary 


talent of imitating and copying the works of 
_ other masters, with an accuracy which sometimes 


deceived even the painters themselves. Of this, 
Vasari mentions a very remarkable instance of 
which he was himself an eye-witness. Raphael 
nad painted for the Cardinal Giulio de’ Medici, 
afterwards Clement VII., the portrait of Leo X., 
seated between that prelate and Cardinal Rossi, 
in which the drapery and background were 
painted by Giulio Romano, Federigo II., Duke of 
Mantua, passing through Florence to Rome, had 
seen this picture, and had requested Clement VII. 
to make him a present of it, when the Pope gave 
directions to Ottaviano de’ Medici to send the por- 
trait to Mantua. Unwilling to deprive Florence 
of so interesting a work of art, Ottaviano employed 
Andrea del Sarto to paint an exact copy of it, which 
was sent to the Duke of Mantua at the time when 
Giulio Romano was in his service. No person 
suspected the deception; even Giulio was himself 
deceived, and was only convinced of the fact by 
Vasari assuring him that he had seen it painted, 
and by showing him the private mark of Andrea 
del Sarto. This celebrated painter has been erro- 
neously supposed to have etched a plate of the 
‘Holy Family,’ in which the Virgin is represented 
kneeling before the Infant Christ, with St. Joseph 
and St. John; itis inscribed Andrea del Sarto fattc 
in Roma; though neatly executed, it is totally un- 


PAINTERS AND ENGRAVERS. 


worthy of the hand of this artist, and the inscrip- 
tion most probably relates to the picture from 
which it was designed. 

Amongst Andrea’s pupils may be mentioned. 
Vasari, Jacopo da Pontormo, Domenico Puligo, 
Giorgio Vasari, F. Salviati, and Squazella. 

The following is a list of several of his most 
important easel-pictures : . 


Berlin. Musewm. Virgin and Saints (dated 1528). 
Dresden. Gallery. Sacrifice of Abraham. 
by 5 Marriage of St. Catherine. 
Florence. Uffizi. His own Portrait. 
= 4 St. Giacomo. 
Madonna ‘di San Francesco’ (dated 
1517)—his masterpiece. 
Dispute on the Holy Trinity. 
Deposition from the Cross. 
Annunciation (with the Angel Gabriel, 
followed by two other nie 
Annunciation y copy is in the Louvre). 
Assumption of the Virgin. 
Portraits (2) of himself. 
re » 9. Nine other paintings. 
London. Nat. Gall. Holy Family. 
Portrait of himself (signed with mono- 
gram given above). 
Virgin and Child with St. Joseph and 
an angel. 
Portrait of his wife,Lucrezia del Fede. 
Charity (signed and dated 1518). 
Holy Family. 
Holy Family (signed in full with the 
monogram of the crossed A). 
Petrsbg.Hermitage. Virgin and Infant, and St. Catherine. 
Vienna. Gallery. Pieta. 


See— 

Guiness, H., ‘ Andrea del Sarto.’ London: 1899. 

Reumont, A.,‘ Andrea del Sarto.’ Leipsig: 1835. 

Crowe and Cavalcaselle, ‘ History of Painting in Italy.’ 
London ; 1866. : 

Biadi, Luigi, ‘ Notizie inedite della vita d’ Andrea del 
Sarto.” Firenze: 1832. eet 

Breton, Ernest, ‘ Notice sur Andrea Vannuccht, dit 
Andrea del Sarto.’ Paris: 1848. 

‘Gazette des Beaux-Arts,’ for 1876 and 1877. 


”? ”” 


» Pitti Pal. 


” » ? 


Madrid. Gallery 


” ”? 
Paris. Lowvre. 


”? ? 
?? ” 


ANDREA pet CASTAGNO. See CasTaano. 

ANDREA pi BERTHOLOTTI. See Brrruo- 
LOTTI. 

ANDREA v1 CIONE. See CIONE. 

ANDREA pi COSIMO, See FELTRINI. 

ANDREA vi LEONE. See LEONE. 

ANDREA pi LUIGI. See ALoviet. 

ANDREAE, Tostas, who was born at Frankfort 
in 1823, studied under J. Becker, and then went 
to Munich, where he made the acquaintance of 
Rahl and Genelli. In 1853 he visited Italy, and 
painted landscapes, into which he occasionally 
introduced moonlight effects. Andreae died at 
Munich in 1873. 

ANDREAE, T., is mentioned by Strutt as 
the engraver of a plate representing an emblem- 
atical subject, in which a woman is lyimg on 
the ground, in the front of the print, and another 
female is standing over her, holding in her hand 
a book, inscribed Giulio Cesare opera. It is 
slightly etched, in a very indifferent style, and is 
signed 7’. Andreae, inv. et fec. 

ANDRE-BARDON, MicuHet Frangois, ar. his- 
torical painter and etcher, was born at Aix, in 
Provence, in 1700. He himself signed his name 
DAnpRE-Barpon, or D. BARvon, because his uncle, 
Louis Bardon, made him his heir on condition that 
he continued the name of Bardon; but his real 
name was André, as the registers of the church of 
St. Madeleine testify. Michel Frangois was des- 
tined by his parents for jurisprudence, and es 


A BIOGRAPHICAL DICTIONARY OF 


at Paris. In 1719 he began to design during his 
leisure hours under the direction of J. B. van 
Loo, and studied painting with J. ys de Troy. 
His progress was so rapid, that ‘he obtained, in 
1725, the second prize at the Royal Academy. He 
went afterwards to Rome, and after being there six 
years he returned to France, through Venice, where 
he stayed six months. He painted the Palais-de- 
Justice, the Hétel-de- Ville (which perished in 
1792), and the church of St. Jerome, at Aix. He 
went to Paris, where he displayed his talents, not 
only as a painter and etcher, but also as a poet 
and writer. In 1735 he became a member of the 
Academy; in 1752 professor; afterwards secre- 
tary; and finally teacher of historical painting. 
He was also the founder of the Académie des 
Beaux-Arts at Marseilles. André designed with 
great facility, and was a perfect master in repre- 
senting the nude. He died at Paris in 1785. 

The following are his best works: 

Aix. Museum. The Emperor Augustus ordering the 
punishment of the robbers of the 
State money. (Signed DanpDRE- 
BARDON AQUISEXTIENSIS PINXIT 
RoMZ# TAT. su 29 anno 1729.) 

Palais-de-Justice. Allegorical Figures of the Virtues. 

Mus. Christ on the Cross, 

Mus. Tullia driving over the dead body of 

Servius Tullius. 

The work which he executed of ‘Jason plough- 
ing, intended for the tapestry manufactory at 
Beauvais, has disappeared. The following are his 
most important etchings: 

The Dead Body of Christ. 
Two Dead Children at the entrance of a vault. 


The Burial of the Dead. 
Johannes Snellinks; after Van Dijck. 


ANDREANI, AnpREA, a painter, and very cele- 
brated engraver, was born at Mantua, according to 
some biographers, about the year 1540, others say 
1546 ; but Brulliot says his birth did not take place 
until 1560, which seems the more likely, for his 
earliest work bears date 1584. His works as a 
painter are little known, as he appears to have 
devoted himself to engraving at an early period of 
his life, when he settled at Rome, some time after 
the art of chiaroscuro on wood had been first 
practised in Italy by Ugo da Carpi. His works 
are confined to woodcuts, which are printed in 
chiaroscuro, and he carried that branch of engrav- 
ing to a much higher degree of perfection than it 
had reached before. His drawing is correct, his 
execution is strong and spirited, and in a very 
masterly style. The number of prints attributed 
to this master is very considerable, as he is 
reported to have procured the blocks executed by 
other artists, and after retouching them, to have 
published them ashis own. He died in 1623. His 
works have frequently been confounded 
with those of Albrecht Altdorfer, from his A 
having used a similar cipher. 

The following is a list of his known works, all 
copies from his contemporaries or painters then 
lately deceased : 

The pavement at Siena, two immense prints; after the 


ee of Domenico Beccafumi ; very scarce ; dated 
The Deluge, large print, in four sheets; after Titian, 
with his cipher. 
Pharaoh’s Host destroyed in the Red Sea, large print, 
in four sheets; after the same, 1585, with his cipher. 
The Adoration of the Magi; after Parmigiano, 1585, 
with his cipher. 
a4 Va VA after Salviati, with his cipher. 1608. 


39 


Marseilles. 
Montpellier. 


The Virgin and Child, with a bishop kneeling; after A. 
Casolant, with his cipher. 1591. a 
The Virgin and Child, with St. John presenting a bird, — 
and a female saint holding a lily; after Giac. Ligozzi, — 
with his name. a 
ee curing the Leper; after Parmigiano, with his — 
cipher. ~ 
Christ curing the Paralytic; after Franc. de Nautoda 
Sabaudia, 5 

- The Miraculous Draught of Fishes; after Raphael, 
1609, with his cipher. i 

Christ departing from Pilate, who is washing his hands; — 
after a basso-rilievo of Jean Boulogne, with the name ~ 
of the engraver; in two sheets. This is one of his — 
most finished prints. a 

Christ bearing His Cross; after A. Casolani, with his 
cipher. 1591. = 

The pens of Christ ; after G. Scolari, with his 
cipher. | _ 

Another Entombment, half figures; after Raffaello — 
Motta, with the name of the engraver. a 

St. Peter preaching; marked with the name Polidoro, 
and his cipher. 1608. ; 

St. Sebastian; marked 
with his cipher. 1608. 4 

The lower part of the picture of St. Nicholas, by 
Titian, with the cipher of Andreant. gy 

The Triumph of the Church; Christi Triumphus, large __ 
frieze, in eight sheets; after Titian, dedicated to the _ 
Duke of Mantua in 1599, and published by Calisto 
Ferrante at Rome in 1608. “a 

An emblematical print, of a Christian after life received _ 
into Heaven, and crowned by Jesus Christ; marked 
B. F. for Baptista Franco, and the cipher of the 
engraver. An. M.Dc.x. Mantoua. ; 

The Picture of Human Life, represented by a woman 
at the foot of a rock, assailed by the passions ; marked — 
Jac. Ligotius, inv. et Andreani, 1585. Firenze. 

Three prints, after a marble group by Gio. da Bologna, 
seen on three sides, representing the Rape of the ~— 
Sabines ; inscribed Rapta Sabinum a Jo. Bolog.marm. 
Gc. M.D.LXXXIIII. 

Another Rape of the Sabines: after Jean Boulogne, in 
three sheets; inscribed Andreas Andreanus Mantua- 
nus aert incidit, §c., M.D.LXxXxv. Florentie. 

Clelia on horseback, with one of her attendants, going 
to cross the Tiber ; marked with the name of Matu- 
rino, and his cipher. 1608. ; 

Mucius Scevola holding his hand over a brazier; 
marked with the name of Bald. Peruzzi, and his 
cipher. 1608. 

The Triumph of Julius Cesar, with the title; a series 
of 10 prints; very fine; after And. Mantegna. 
M.D.XCVIII. ; 

Venus and Cupid, with nymphs bathing; after Parmi- 
giano, with the cipher of Andreani. 1605. 

Circe giving drink to the companions of Ulysses; oval 
print; after Parmigiano, with hisname. 1602. 

A Woman warming herself before the fire; marked 
Bernard Malpitius, inv., with his cipher. fs 

The scene of a comedy represented before the Grand 
Duke Cosmo I.; after a design of Bart. Neront, large 
piece. 1579. 

The Triumph of Death, a Sepulchral Monument, repre- 
senting a kind of rock, on which are the three Fates ; 
after Fortuna Fortunio, with the cipher of the en- 

aver | 

Christian Virtues, six pieces; also Force, Truth, and 
Virtue ; ali after Parmigiano. ne 

WY, Boe 


ANDREASI, Ipprotiro, who was born at Man- 
tua in 1548, was an imitator of Giulio Romano: 
he painted pictures of merit for the churches of 
his native town, where he died in 1608. The 
Louvre possesses a ‘ Holy’Family’ by him. 

ANDRES, Fray Lron DE, a Spanish painter of 
the 16th century, is celebrated for the miniatures 
he executed in 1568 for choir-books—especially 
that of ‘El Capitulario’—now in the Escorial. 
He died in 1580. 

ANDREWS, Georce Henry, was born at 
Lambeth in 1816. Though an engineer by pro- 


Fridericus Barotius Urbinas, 


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marine subjects in water-colour, and became 
successively Associate, Exhibitor, Member and 
Treasurer of the Royal Water-Colour Society. He 
drew for the ‘Illustrated London News’ and the 
‘Graphic,’ and died at Hammersmith in 1898. 
ANDRIESSEN, AnTHONIE, who was born at 
Amsterdam in 1746, painted, in conjunction with 
his brother Jurriaan, under whom _ he TAN 


studied, landscapes and figure-pieces. 
_ He died at Amsterdam in 1813. 


ANDRIESSEN, CurisT1aAan, who was born at 
Amsterdam in 1775, was the son and scholar of 
Jurriaan, and became a good painter of history, 
genre subjects, landscapes, views of towns, and 
occasionally portraits. Among his works may be 
mentioned a Panorama of Amsterdam. 

ANDRIESSEN, Henprick, who was surnamed 
‘Mancken Heijn’ (The Limper), was born at 
Antwerp, probably in the year 1607, He was a 
painter of still-life; composed with great skill, 
and finished his pictures artistically. He died in 
Seeland in 1655. 

ANDRIESSEN, Jurriaan, born at Amsterdam 
in 1742, was a scholar of A. Elliger and J. M. 
He was an able artist in decorative 
painting ; the decorations of the new theatre at 
Amsterdam were executed by him and Numan. 
Several distinguished modern Dutch painters are 
from his school. He died at Amsterdam in 1819. 

ANDRIOLI, Grrouamo, a pupil of Brusasorci, 
was a painter of Verona. His name, with the date 
1606, was inscribed on an altar-piece of ‘St. Dome- 
nick and other Saints’ formerly in the church of 
Santa Caterina di Siena at Verona. 

ANDRIOT, Francots, a French engraver, who 
was born in Paris about 1655, practised both in 
France and in Italy, especially in Rome. He fol- 


' lowed the style of F. de Poilly, and among his 


works are: 

Two Annunciations, after Albano ; a Magdalene, after 
Guido ; Madonna and Child, after Guido ; The Holy 
Family, with a rose, after Raphael ; The Crowning 
with Thorns, after Domenichino ; and the same, after 
Ann. Carracct ; The Good Samaritan, after Poussin ; 
and other subjects of sacred history, after Guzlle- 
bault, and other masters. 


ANDROUET-DUCERCEAU, JacquEs, was an 


architect and engraver of whom but scanty records |: 


have survived. His parents’ name was Androuet, 
but they acquired the affix ‘du Cerceau’ from a 
hoop which they hung on their house as a dis- 
tinguishing mark, and the double name was adopted 
by their son. Jacques was born about 1510, pro- 
bably at Paris, but it was at Orleans, the home of 
his family, that he spent the greater part of his 
life ; and most of his works bear the date of that 
city. He is said to have studied under Etienne 
Delaulne ; but the strong resemblance of his style 
to that of Leonhard Thiry, another artist of Fon- 
tainebleau, has led to the belief that he formed his 
manner from the artists of that school. He visited 
Italy with George d’Armagnac, ambassador of 
Francis I. to the Venetian Court, and on his return 
in 1546-47 he was patronized by the royalty and 
nobility of France. It is supposed that he retired 
to Annency, or Geneva, towards the close of his life, 
and died there—after 1584. As an engraver his 
subjects were various — mythological, architect- 
ural, perspective, trophies, arabesques, friezes, 
Caryatides, vases, furniture, &c.: we mention: 


PAINTERS AND ENGRAVERS. 


____ fession he devoted most of his time to painting, 
and exhibited first in 1840. He painted chiefly 


The Marriage of the Virgin ; after Parmigiano (Fran- 
ciscus Parmensis Inventor). 

The Birth of Christ ; unsigned. 

ne oss of Heathen Mythology; after Rosso; 20 
plates. . 

The Loves of the Gods; after Perino del Vaga and 
Rosso; 20 plates. 

The Labours of Hercules ; after Rosso ; 6 plates. 

The Life of Psyche ; after Raphael ; 32 plates. 

The Dog of Montargis fighting his Master’s Murderer 
( faict 4 Montargis). 

Plans of Antwerp, Jerusalem, Rome, &c. 

Landscapes, 24 plates. 

‘Le Premier Volume des plus Excellents Bastiments 
de France.’ Paris, M.D.LXXVI. 

‘Le Second Volume des plus Excellents Bastiments de 
France.’ Paris,m.D.LXxIx. Both volumes are dedi- 
cated to Catherine de Medicis, for whom they were 
executed. 


ANEDA, JuAN bs, was born at Burgos, where 
he painted in 1565, in conjunction with Juan de 
Cea, several pictures, which are still to be seen in 
the cathedral. 

ANESI, Paoto, landscape painter and etcher, 
was born at Rome about the year 1700. He 
painted landscapes with considerable success at 
Florence and at Rome. The frescoes in the Villa 
Albani, near Rome, are done by him, in conjunc- 
tion with Antonio Bicchierai and Niccolo Lapic- 
cola. They bear the date 1761, with the signature 
Paolo Anest fece. He was, Lanzi tells us, one of 
the masters of Francesco Zuccarelli, He painted 
ancient ruins in the manner of Pannini, and his 
works have been much confused with those of that 
artist. Four small landscapes, by Anesi, are in the 
Hohenzollern-Hechingen Gallery at Lowenberg. 

ANGARANO, Conte Orravio. According to 
Zanetti, this artist was of a patrician family of 
Padua, and flourished at Venice in the second half 
of the 17th century. It is not mentioned by whom 
he was instructed in the art, but he was a reput- 
able painter of history, and acquired considerable 
celebrity by a picture he painted for the church of 
San Daniele, at Venice, representing the ‘ Nativity,’ 
which is highly commended by his biographer, and 
of which there is an etching, as some say, by him- 
self ; but Bartsch ascribes it to Giuseppe Diaman- 
tini. Angarano painted in the manner of the 
followers of Caravaggio. 

ANGE, Frangois t’. See L’ANGE. 

ANGEL, J. X. See X1mENEZ ANGEL. 

ANGEL, Pepro (or ANGELO), the first of Spain’s 
good engravers, flourished at Toledo at the end of 
the 16th and beginning of the 17th century. The 
frontispiece to the ‘ History of Our Lady of Gua- 
daloupe,’ containing the portrait of that ungainly 
idol, published in 1597, is one of his earliest works. 
The elegant armorial design in the title, and the 
fine portrait of Cardinal Tavera in ‘Salazar’s 
Chronicle,’ published 1603 ; and the still finer and 
rarer portrait of Cardinal Ximenez de Cisneros in 
Eugenio de Noble’s ‘Life,’ published 1604, are 
by Angelo. He likewise engraved a title-page 
for Luis de Tena’s ‘Commentary on St. Paul’s 
Epistle to the Hebrews,’ 1611-17 ; a print of 
‘Our Lady of the Conception,’ and other devo- 
tional subjects. 

ANGEL, Putters, who was born at Middelburg, 
in the early part of the 17th century, painted at 
Haarlem (where he entered the Guild in 1639), at 
Leyden, and afterwards in Ispahan, and in Batavia, 
where he probably died—after 1665. His only 
known work—a picture of still-life, signed P. 
ANGEL, 1650—is in the Berlin Museum. See 


( 4 


A BIOGRAPHICAL DICTIONARY OF 


date is correct it must have been painted while he 
was in the East. 

ANGELI, Barista. See ANGoLo. 

ANGELI, Fivipro pe LIANo D’, was called In 
NAPOLETANO, from his being sent to Naples when 
he was very young. He was born at Rome 
towards the end of the 16th century, and was the 
son of an artist who was employed under Sixtus 
V. Heexcelled in painting landscapes and battles, 
and, according to Baglioni, was much employed in 
ornamenting the palaces and villas at Rome. He 
frequently painted architectural views, with a 
number of figures arranged and composed with 
great ingenuity. He died at Rome during the 
pontificate of Urban VIII., about 1640. The 
Louvre has a ‘Satyr and Peasant’ by him, and 
his own portrait is in the Uffizi at Florence. 

ANGELI, Giutto. See ANGoLo. 

ANGELI, Gruuio Cesare, born at Perugia about 
1570, studied in the school of the Carracci, at 
Bologna. He was more remarkable for his colour 
than design, and excelled rather in the draped 
than the naked figure. There is a vast work by 
him in the oratory of Sant’ Agostino in Perugia, 
where he died in 1630. 

ANGELI, Gruseppz, a Venetian painter, scholar 
of Piazzetta, whose style he imitated, was born 
about 1709. He painted cabinet pictures, and 
some altar-pieces, His heads have considerable ex- 
pression, and his extremities are well drawn. The 
painting in the cupola of San Rocco at Venice is 
one of his best works. He executed numerous 
decorations in the churches and public buildings of 
Padua and Rovigo, as well as of Venice. He died 
at Venice in 1798. In the Louvre there is a 
‘Little Drummer’ by him. 

ANGELI, Marco. See ANGoLo. 

ANGELI, Nicco.d, an Italian engraver, flour- 
ished about the year 1635. He was a disciple 
of Remigio Canta-Gallina, and, in conjunction with 
his instructor, engraved, from the designs of 
Giulio Parigi, a set of plates representing the 
festivals which took place at Florence on the 
occasion of the marriage of the Prince of 
Tuscany. 

ANGELICA, a miniature painter of Tarragona, 
executed, in 1636, the illuminations of the cathe- 
dral choir-books with great neatness and skill. 

ANGELICO, Fra (GIovVANNI DA Fimsotz). See 
FIESOLE. 

ANGELINI, Scirionz, who was born at Perugia 
in 1661, was a skilful painter of flowers ; in his 
pictures they appear newly plucked, and sparkling 
with dewdrops. He painted a great number, 
which he sold to dealers, who exported them to 
England, France, and Holland. He practised at 
Rome ; and died at Perugia in 1729. 

ANGELIS, Pierre, See ANGILLIS. 

ANGELL, HELen CorpdE.ia, née COLEMAN, was 
born in 1847, and early distinguished herself 
as a brilliant and original painter of flowers 
and kindred subjects, which she was among the 
first of modern English painters to treat with 
breadth and vigour. She first exhibited at the 
Dudley Gallery in 1866. She became a member 
of the Institute of Painters in Water-Colours, but 
seceded in 1879, on being elected an associate 
exhibitor of the Society of Painters in Water- 
Colours, of which she afterwards became a member. 
She married, in 1875, Mr. W. T, Angell, and died 
March 8, 1884. Her last picture was exhibited 
at the Dudley Gallery in the winter of 1889. 

40 


ANGELO, MicHart. See BUONARROTI. 
ANGELO, PepRo. See ANGEL. 3 


ANGELO pet MORO. See Anaoto pEL Moro. — 


ANGELUCCIO, a scholar of Claude Lorrain, 


was living in 1680, but died young. He is men- — 
tioned as an artist of considerable talent; his — 
works are perhaps sometimes mistaken for his 


master’s. 

ANGIER, PAvL, an engraver, of whom little 
more is known than that he resided in London 
about the year 1749, and that he was instructed in 
the art by John Tinney. He was chiefly em- 


ployed in engraving for the booksellers, and 
executed several small plates, principally land- 


scapes, in a neat style, but without much taste, 
His best print is a ‘ View of Tivoli,’ after Mouche- 
ron. There is a print, dated 1749, by him, of a 


view of Roman ruins, after Pannini, very neatly — 


engraved. 7 
ANGILLIS, Prerre, (wrongly called ANGELIS), 
was born at Dunkirk, in 1685. After learning the 


rudiments of design in his native town, he visited 


Flanders, and resided some time at Antwerp, where 
he was made a master of the Guild of St. Luke 
in 1715-16. He painted landscapes with small 
figures, into which he was fond of introducing 
fruit and fish. He came to England about 1719, 
remaining till 1727, when he set out for Italy. 
On his return he settled at Rennes, where he died 
in 1734. His style was a mixture of those of 
Teniers and Watteau, with more grace than the 
former, and more nature than the latter. 

ANGIOLILLO, called RoccADIRAME, was a 
Neapolitan, and flourished about the year 1450. 
He was a disciple of Antonio Solario, called Il 
Zingaro, and, according to Dominici, painted 
several pictures for the churches at Naples. One 
of his most esteemed works was a picture in the 
church of San Lorenzo, representing the ‘ Virgin 
and Infant Jesus, with St. Francis, St. Anthony of 
Padua, and St. Louis.’ He died about the year 
1458. 

ANGLUS, Bensamin. This artist is mentioned 
by Heineken as the engraver of two emblem- 
atical subjects, one after Antonio Tempesta; the 
other is probably from his own design, as he adds 
the word fecit to his name. 


ANGOLO pEt MORO, BATTISTA, (commonly | 


called ANGELI, and occasionally ANGELO and 
AGNOLO), was born at Verona, about the year 
1512. He was a scholar of Francesco Torbido, 
called Il Moro, whose daughter he married, and 
whose name he added to his own. He improved 
his style by studying the works of Titian, and 
painted several pictures, both in oil and fresco, for 
the churches at Verona, and sometimes in compe- 
tition with Paolo Veronese. In Sant’? Euphemia he 
had painted a fresco of ‘Paul before Ananias,’ 
which, on the demolition of the wall on which 
it was painted, was sawn out with great care, 
and removed to another part of the church. His 
colouring is more vigorous than that of his in- 
structor, and his design more graceful. Such is 
his picture in San Stefano of ‘An Angel pre- 
senting the Palms of Martyrdom to the Inno- 
cents.’ He also painted much in Venice, Mantua, 
and Murano. We have several slight but spirited 
etchings by this master, in which the extremities 
of the figures are drawn in a very masterly style. 
In conjunction with Battista Vicentino, he en- 
graved a set of fifty landscapes, mostly after 
Titian, which are executed in a bold, free style. 


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We have also the following plates as specimens of 
his work in this line: 
The Nativity, or Adoration of the Shepherds; after 
Parmigiano. 
The Virgin, with the Infant Christ and St. John; B.-A. 
del Moro, fee. 
The Holy Family, with St. Elisabeth and St. John; 
after Raphael. 
Another Holy Family; after the same. 
are Martyrdom of St. Catherine; after Bernardini 
ampr. 
The ee tiain of Christ by St. John; after the same. 
_ ANGOLO vet MORO, Grutio, (commonly called 
ANGELI), the brother of Battista, was a sculptor, 
architect, and painter. He was a native of Verona, 
but laboured chiefly at Venice, and in the churches 
and the Doge’s Palace of that city he has left 
several pictures, He flourished in the 16th cen- 
tury and the beginning of the 17th. There is no 
record of him later than 1618. There was a third 
brother, GIRoLAMO, who was also a painter, but of 
no great merit. 
ANGOLO pet MORO, Marco, (commonly called 


_ANGELI), the son and pupil and assistant of Bat- 


tista, flourished in the latter half of the 16th 
century at Venice and Verona. He assisted his 


father in his wall decorations at Murano. He 


also practised the art of engraving with consider- 
able success. wae 
ANGUISCIOLA, SoronisBa, (or ANGOSCIOLA, also 
written ANGUISOLA, ANGUSSOLA, and ANGUSCINOLA). 
This celebrated painter, the eldest of six sisters, 
was born of an ancient family at Cremona, about 
1535. She received her first instruction in the 
art from Bernardino Campi, to whom she went in 
1546, but afterwards became a scholar of Bernardo 
Gatti, called Sojaro. After leaving those masters, 
her first effort in art was an effusion of filial 
affection, expressed in a portrait of her father and 
two of his children. This performance was uni- 
versally admired, and she was soon considered as 
one of the most eminent portrait painters of her 
time. She did not, however, confine herself to 
portraits, but painted some historical subjects of 
a small size, that were highly esteemed, and 
The fame of this 
painter induced Philip II. of Spain, the great 
encourager of art in his time, to invite her to 
Madrid, where she arrived about the year 1560, 
attended by three of her sisters. One of her first 
works in Spain was a portrait of the Queen Isa- 
bella, which was presented by the king to Pope 
Pius IV., to whom she was nearly related, accom- 
panied by a letter addressed to his Holiness by 
Sofonisba, to which that pontiff replied in an 
epistle, highly extolling her performance, and 
assuring her that he had placed it amongst his 
most select pictures. She was married twice: first 
to Don Fabricio di Moncada, a Sicilian nobleman, 
after whose death she returned to her own country 
by way of Genoa, There she married as her 


second husband Orazio Lomellini, the captain of |, 


the galley in which she made the voyage. Her 
portrait at the age of ninety-six, together with a 
long account of her, is to be seen in the Van Dyck 
Sketchbook at Chatsworth, and is reproduced in 
the facsimile of this Sketchbook issued in 1901 by 
George Bell and Sons, London, Plate XXXVIII. It 
was drawn by Van Dyck on July 12, 1624, when 
the artist was at Palermo, and he states in the in- 
scription that when “I was making her portrait 


she gave me many hints, such as not to take the 


PAINTERS AND ENGRAVERS, 


light from too high, lest the shadows in the wrinkles 
of old age should become too strong, and many 
other good sayings by which I knew that she was 
a painter by nature and wonderful, and the greatest 
trouble she had was that from lack of sight she 
could paint no longer, though her hand was firm 
without tremor of any sort.” She died in Palermo 
soon after the visit of Van Dyck, in 1626. A 
drawing has been discovered lately at Palermo 
which closely resembles the sketch at Chatsworth, 
and is attributed to Van Dyck with some definite 
assurance. The following may be noted among 
the most important of her paintings : 
Portrait of herself, seated at a clavecin (signed). Ina 
private collection in Bologna. 
Portrait of herself (similar to the Bologna picture). 
Inthe possession of Lord Spencer at Althorpe. 
Portrait of herself. At Nuneham Park. 
Portrait of herself painting a picture (signed). In the 
Uffizi, Florence. 
Portrait of herself holding a book (signed and dated 
1554). Jn the Gallery, Vienna. 
Three of her sisters playing chess (formerly in the 
collection of Lucien Buonaparte ; one of her best works). 
In the possession of Count Raczynski at Berlin. 
Portrait of a nun (signed). In the possession of the 
Earl of Yarborough. 
Portrait of aman. At Burleigh House. 
Portrait of a Venetian Ambassador (szgned). In the 
Brignoli Gallery at Brescia. 
Madonna and child (dated 1559). 
Collection at Cremona. 


ANGUISCIOLA. All the five sisters of Sofo- 
nisba painted with more or less success. ELENA, 
the next in age to Sofonisba, after having studied 
with her under Campi and Gatti, entered the con- 
vent of San Vincenzo, at Mantua, where she was 
still living in 1584. Lucta, the third in age, who 
died in 1565, distinguished herself both in painting 
and music; a portrait of the physician ‘ Pietro Maria 
of Cremona’ by her, signed ‘Lucia Anguisola, 
Amilcaris filia, adolescens, fecit,’ is in the Madrid 
Gallery. Minerva died young. Europa and ANNA 
Maria painted subjects from sacred history for 
churches. 

ANGUS, Witt14y, an English designer and en- 
graver of landscapes and buildings, was born in 
1752. He was a pupil of William Walker. He 
engraved and published a great number of views 
of gentlemen’s seats in England and Wales, which 
were executed by him in a delicate and pleasing 
manner. He was also employed on many other 
topographical publications of the period. He did 
not confine his graver to his own drawings, but 
exercised it on those of Stothard, Paul Sandby, 
Edward Dayes, George Samuel, and others of high 
repute. He died in 1821. : 

ANICHINI, Pierro, a Florentine engraver, of 
whose life we have no particulars. He is said by 
Basan to have been born in 1610; he died in 1645. 
Among other plates engraved by him, we have 
the following : 


A Holy Family ; small plate, lengthways; dated 1644, 
The Good Samaritan ; small, lengthways. 

Cosmo Prince of Etruria. sh 

Evangelista Torricelli, the mathematician. 


ANIELLO. See Porrio. 

ANIEMOLO, Vincenzo, (or AINEMOLO), called 
Vincenzo Romano, was born at Palermo towards 
the end of the 15th century. After having 
studied for some time in his native town the 
works of Perugino and other masters, he gt to 


In the Bresciani 


A BIOGRAPHICAL DICTIONARY OF 


Rome, where, if he did not receive personal in- 
struction from Raphael, the works of that master 
had a great effect on his style. Aniemolo left 
Rome at the time of its pillage and went to 
Messina; thence he returned to Palermo, where 
he lived until his death, which occurred in 1540, 
He has left in the churches of his native town 
many pictures of merit. Of these we may mention 
the ‘ Virgin and Child between four Saints,’ in San 
Pietro Martire; the ‘ Virgin of the Rosary,’ dated 
1540, in San Domenico; and the ‘Sposalizio,’ in 
Santa Maria degli Angeli. All bear strong traces 
of the influence of Raphael. 

ANISIMOFF was a Russian genre painter, who 
obtained a reputation in the course of the first 
ten years of the 19th century by the execution of 
a number of spirited pictures depicting scenes 
from Russian popular life. 

ANJOU, RENE or. See RENE. 

ANNA, BALDASSARE D’, a Fleming by birth, 
but of the Venetian school of painting. He was a 
pupil of Corona of Murano, and after his master’s 
death completed several of his works. He also 
produced many original pictures for the Servi and 
other churches, which, though inferior to those of 
Corona in the selection of forms, surpass them in the 
softness, and sometimes in the force, of the chiaro- 
scuro. He flourished toward the close of the 16th 
and the beginning of the 17th century. The last 
record we have of him is in 1639. 

ANNELLA pi MASSIMO. See BELTRANO. 

ANNIS, W. T., an English mezzotint engraver, 
of whom very little is known. He exhibited 
landscapes at the Royal Academy between the 
years 1798 and 1811, and engraved the following 
plates in Turner’s Liber Studiorum: 


Sunset; No. 40. 
Chepstow Castle; No. 48. Also 
Mary Wollstonecraft Godwin; after Opie. 


ANNUNCIACAO, TxHomaz Jost pa. See Da 


ANNUNCIAGAO 

ANRAADT, Pizrer van, flourished at Amster- 
dam, where he settled in 1672, and married the 
daughter of the Dutch poet Jan van der Veen. 
Notwithstanding the merit of this master, little is 
known of the circumstances of his life. Accord- 
ing to Houbraken, he was a very eminent his- 
torical painter, and that author mentions a picture 
of ‘ Regents’ painted by him for the ‘ Huiszitten- 
huis’ at Amsterdam. Balkema describes him as 
a painter of portraits, animals, and conversation- 
pieces, 

ANSALDO, AnprEa, was born at Voltri, a small 
town near Genoa, in 1584. He was at first a 
scholar of Orazio Cambiaso; but becoming im- 
pressed with the beauty and splendour of the 
works of Paolo Veronese, he studied them with 
great attention, and formed for himself an excel- 
lent style of colouring, both in oil and in fresco. 
His chief work was an ‘ Assumption of the Virgin,’ 
in the cupola of the church of the Annunziata at 
Genoa. 
the churches and palaces in that city, and of his 
native town. He possessed a fertile invention, 
and his compositions are decorated with architec- 
ture and landscape, introduced with a very happy 
effect. He died in 1638 in Genoa, having acquired 
the reputation of being one of the best painters of 
his time. 

ANSALONIT, Vincenzo, was a native of Bologna, 
and a disciple of Lodovico Carracci, Under so able 


42 


Many other works of this master are in 


an instructor he became a reputable painter of 
history. Malvasia speaks in very favourable terms _ 
of an altar-piece by this master, in the chapel of 
the family of Fioravanti, in the church of St. ; 


Stefano at Bologna, representing the ‘Martyrdom 


of St. Sebastian.’ His chef-d’ceuvre is a picture 
in the church of the Celestine Monks, representing — 
the Virgin Mary with the Infant Saviour in the 
clouds, and below, St. Roch and St. Sebastian, 
According to Zani, he flourished about 1615, and 
died young. 

ANSANO v1 PIETRO (v1 MeEnico or DoMENICO). 
See SANO DI PIETRO. 

ANSDELL, RicHarp, was born at Liverpool 
May 11, 1815, and baptized at St. Peter's Church 
there. He was educated at the local Bluecoat — 
School from 1824 to 1828, from which it may be 
inferred that his father was dead and his relatives 
were in poor circumstances. His grandfather had 
owned salt-works near Northwich. Ansdell is said — 
to have shown skill in drawing when at school, and - 
when he left in 1828 it was to go to W. C. Smith, 
profile and portrait painter, at Chatham. Later he 
returned to Liverpool, where, after some experience 
of commercial employment, he, at the age of 
twenty-one, definitely set up as an artist. He 
attended the classes of the Liverpool Academy, of 
which he afterwards became a member, and event- 
ually president; the bent of his mind, however, 
was towards animal painting, and he probably 
learned most in the school of nature. His first 
appearance at the Royal Academy was in 1840, 
when ‘Grouse-shooting ; lunch on the Moors’ and 
‘A Galloway Farm,’ the property of the Marquis - 
of Bute, were hung. He was then at Liverpool, 
which remained his address until 1847, when he 
had removed to Kensington. In the interim he had 
been represented every year at Somerset House: 
in 1841 and 1845 by sporting portrait groups ; in 
1842 by the historical subject, ‘The Death of Sir 
William Lambton at the Battle of Marston Moor’ ; 
in 1843 by ‘The Death’; in 1844 by ‘Mary 
Queen of Scots returning from the Chase to Stirling 
Castle’; and in 1846 by ‘The Stag at Bay.’ The 
equally popular ‘The Combat’ and ‘The Battle 
for the Standard’ followed in 1847 and 1848. In 
the meantime Ansdell had commenced exhibiting at 
the British Institution in 1846, to which, in all, he 
sent thirty works. Ansdell achieved an early and 
enduring popularity, and the ready sale of his 
pictures, combined with the profits from engrav- 
ings, must have yielded him a large income. He 
painted a wide range of animal subjects, much in 
the vein of Landseer; although without high ex- 
cellence as a painter, he had facility and skill in © 
composition, which, with his happy knack in choice 
of effective subjects, sufficed for the very large 
public that likes animal pictures seasoned with a 
dash of theatrical human sentiment. In 1849 there 
appeared ‘The Death of Gelert’? and ‘ The Wolf 
Slayer’; and, in 1850, ‘The Rivals.’ In the fol- 
lowing year the number of his pictures at the Royal 
Academy was three, and during the remainder of 
his life he seldom had fewer and usually more. In 
1869 and 1871 he showed six, and in 1872 eight 
works. His total contributions from 1840 to 1885 
numbered 150, and he only missed one year, 1880, 
In 1851 Ansdell exhibited the first of several pic- 
tures painted in collaboration with others, ‘The 
Shepherd’s Revenge,’ the background of which was 
supplied by T. Creswick, R.A. elect. In 1855 the 
same artist was his fellow-worker in ‘The Nearest 


_ Way in Summer-time,’ while ‘ Feeding the Calves’ 
was in part by W. P. Frith, R.A. In the same 
year he won a third-class gold medal at Paris with 
‘The Wolf Slayer’ and ‘Turning the Drove’ (R.A. 
1851). _ In 1856 he made his first visit to Spain 
with J. Phillip, and at the Royal Academy he 
showed ‘Going to be Fed,’ to which that artist 
had contributed. In the two following years 
Ansdell’s pictures were all from Spanish subjects. 
In 1861 he was elected A.R.A., and exhibited his 
* Hunted Slaves,’ avery effective and popular piece 
of melodrama, which now represents him in the 
public collection of his native place, along with 
‘A Mastiff’ and ‘A Shooting Party in the High- 
lands—Halting for Lunch.’ In the following year 
he was at Kensington, although a good deal of his 
time was spent at a little lodge built for him 
beside Loch Laggan. Ansdell became R.A. in 
1870, and towards the end of his life he established 
himself at Farnborough, where he died in 1885. 
It has been stated that during his last quarter of a 
century he showed 181 pictures in London, and 
received for them an average price of £750 each. 
A ‘View of St. Michael’s Mount, Cornwall,’ realized 
£1410 10s. at Baron Grant’s sale. Mr. J. G. Millais, 
a critic peculiarly well qualified, has pronounced 
the ‘Combat of Red Stags’ the best picture of a 
deer by Ansdell—a canvas that might well have 
come from the brush of Landseer ; for init there is a 
splendid amount of “go” and action. As a rule, 
_ though Ansdell excelled in the grouping of his 

subjects and execution of detail, neither his large 
animals (except dogs) nor his birds completely 
satisfy. His deer are too obviously drawn from 
dead ones, and with regard to birds, he, like 
Reinagle, followed too closely the inaccuracies of 
the bird-stuffers. m 

ANSELIN, Jean Lovis, a French line-engraver, 
who was born in Paris in 1754, was a pupil of A. 
de Saint-Aubin. He became engraver to the king, 
and died at Paris in 1823. Among his best works 
are the following: 

' La Marquise de Pompadour ; after Van Loo. 
The Siege of Calais; after Berthélemy. 
Moliére reading his ‘ Tartuffe’ at the house of Ninon de 
Lenclos ; after Monsiau. 
The Sleeping Child; after Donato Creti ; for Laurent’s 
Musée Frangais. 
_ ANSELL, Cuar.zs, flourished towards the close 
of the 18th century. His name occurs only twice— 
1780 and 1781—in the catalogues of the Royal 
Academy. He was celebrated for his drawings of 
the horse, but also drew domestic subjects. His 
‘Death of a Race-horse’ was engraved in six 
plates, and published in 1784. 

ANSELMI, Gioraio, born at Verona, in 1723, 
was a pupil of Balestra. His masterpiece is the 
painting in fresco in the cupola of Sant’ Andrea 
at Mantua. He died in 1797. 

ANSELMI, MicHELANGELO, called ‘ Michel- 
angelo da Lucca,’ was born at Lucca, in 1491, and 
was a disciple of Bazzi. He principally resided 
at Parma, where one of his first performances 
was a considerable work painted from a design 
of Giulio Romano, representing the ‘Coronation 
of the Virgin.’ He painted several pictures of his 
own:composition for the churches in Parma, some 
of which bear a resemblance to the style of Cor- 
reggio. He died in 1554, at Parma, 

The following are his best works: 

Florence. Uffizi. Nativity. 
London. Northbrook Coll. Madonna and Saints, 
Paris. Louvre. Virgin in Glory. 


PAINTERS AND ENGRAVERS. 


Parma. Cathedral. Madonna and Child. 
99 Gallery. Christ on the way to Calvary 
a flee ns i ' Coronation of the Virgin. 
Reggio. &. Prospero. Baptism of Christ. 


ANSIAUX, Juan JoszepH ELtonore ANTOINE, a 
French historical and portrait painter, a scholar of 
Vincent, was born at Liege, in 1764. His works, 
taken from sacred and profane history, and poetical 
subjects, are numerous, and place him among the 
best artists of the French school in the 19th 
century. He also painted portraits of several 
distinguished persons, ministers, and generals of 
Napoleon. He died at Paris in 1840. 

The following are some of his best works: 


Angers, Cathedral. Raising of the Cross. 1827. 
Arras. Cathedral. Resurrection. 
Bordeaux. Museum. Richelieu presenting Poussin 
to Louis XIII. 1817. 
Le Mans. Cathedral. Adoration of the Kings. 
liege. Cathedral. Ascension. 1812. 
& i Conversion of St. Paul. 1814. 
4 Hotel-de-Ville Return of the Prodigal Son. 
1819. 
Lille. Museum. St. John rebuking Herod. 
1822. 
. on Finding of Moses. 1822. 
Metz. Cathedral. The Flagellation. 
Paris S&S. Etienne-du-Mont. St. Paul preaching at Athens, 


ANSUINO (or Ansovino), of Forli, who flourished 
about 1455, was one of the pupils of Squarcione, 
a fellow-worker with Mantegna in the frescoes in 
the Eremitani Chapel at Padua; and his work 
bears traces of the influence of that master, The 
inscription Opus ANSVINI is attached to the repre- 
sentation of ‘ St. Christopher.’ 

ANTHONISSEN, H. (? HENnpRIK) VAN, a 
Dutch marine painter who flourished about the 
middle of the 17th century. He painted in the 
style of J. van Goyen and Jan Parcellis. He is 
the author of sea paintings, in the Hermitage, St. 
Petersburg, and the Prague Gallery, which through 
their signatures have been ascribed to a mythical 
HENDRIK VAN ANTEM. 

ANTHONISZOON, Cornetis, (or ANTONISZOON), 
was born at Amsterdam, about the year 1500. 
He excelled in representing the interior views 


of towns, which he did with uncommon fidelity. 
In the Hotel-de-Ville at Amsterdam is a picture 
by this master, representing that city as it was 
in 1536. He afterwards painted twelve views 
of the same city, with its principal public build- 
ings, which he engraved on twelve blocks of 
wood. These prints are now rare. He was also 
known as TEuUNISsEN—the abbreviation 

of hisname. Hence his monogram. In AT 
Meyer’s ‘ Kinstler-Lexikon’ is a list of q 

his engravings. 

ANTHONY, Georce WILFRED, landscape 
painter, was born at Manchester, where he studied 
landscape painting under Ralston, and afterwards 
under Barber of Birmingham. After travelling 
about for some time, he finally settled at Man- 
chester as a drawing-master. He was also an 
art-critic, and wrote several very able reviews of 
local exhibitions for the ‘ Manchester Guardian.’ 
He died at Manchester, in 1859. 

ANTHONY, Mark, born at Manchester in 1817, 
of Welsh descent, Trained for the medical 
profession, and at sixteen placed with a doctor, 
at Cowbridge, Glamorganshire; who, being an 
amateur painter of some skill, encouraged the 
artistic leanings of his assistant. Having some 

43 


A BIOGRAPHICAL DICTIONARY OF ee 
on the 2nd of December 1886. From 1858 he had 


private means, Anthony abandoned medicine and 
went abroad to pursue his studies at Paris and the 
Hague. He is said to have remained about ten 
years on the Continent, making Paris his head- 
quarters. The dates are uncertain. In 1837 he 
showed at the Royal Academy a view on ‘the 
Rhaidha (sic) Glamorganshire, which suggests 
recent residence at Cowbridge, and in 1843, when 
he next exhibited at Somerset House, he had a 
fixed address in London at 28, Sussex Street. 
His name in the catalogues of that and several 
subsequent years was given as H. M. Anthony. 
In, or about, 1837 he came in contact with Dupre 
and Corot at Fontainbleau and was considerably 
affected by them. In 1840 he first exhibited at the 
British Institution, and in 1845 he became a member 
of the Society of British Artists. For their exhibi- 
tions he painted ‘ Harvest Home’ (1847) ‘ Prayer 
for the Absent’ (1848) ‘An Old Country Church- 
yard’ (1849), and ‘The Elm at Eve’ (1850). 
Meantime, after missing two years, he showed, in 
1849, ‘Sunshine and Showers’ at the Royal 
Academy. He was then at 18, Monmouth Road, 
Westbourne Grove. After another lapse of two 
years, he again had a picture in the Royal 
Academy in 1852, and thereafter with one exception 
(1862) he had either one or two pictures annually 
at Somerset House until 1866. In 1852 he had 
resigned from the British Institution, hoping for 
an associateship of the Academy: this, however, 
he never obtained. Although never a practitioner 
of the pre-Raphezlite methods, Anthony was on 
intimate terms with that group and their friends ; 
especially Madox Brown, who esteemed him 
highly. In January 1855 Brown, in his diary, wrote, 
apropos of Anthony’s pictures, “ He has a habit 
(of late particularly) of making his skies so heavy 
that they quite spoil all the fine qualities otherwise 
evinced in his works. The picture of Stratford 
Church, however, is magnificent in every respect, 
save the sky ; which, if he can paint, it will be 
one of his finest works. It is admirable colour, 
but his other works look somewhat opaque.” 
Brown was an excellent critic, and here he has 
summarized the merits and faults of Anthony. 
From one of Brown’s letters in the autumn of 
1855 to Lowes Dickinson, it appears that Anthony 
had been very successful indeed, and was then in 
Ireland ; and from another to the late Mr. George 
Rae in 1868 we learn that “ Anthony has been 
again to Spain: ” this perhaps accounts for the 
lack of anything at the Royal Academy until 
1869, when ‘The City and Fortress of Lerida’ 
was exhibited. In 1873 he showed ‘Evensong’ 
(Chingford Church, Essex), one of his best pic- 
tures, which, being sent in the same year to the 
Liverpool Autumn Exhibition (to which Anthony 
had contributed from the commencement, in 1871), 
was purchased for the Permanent Collection. 
This, however, was not his first Liverpool recog- 
nition, for in 1854 he was awarded the annual prize 
of £50 for the “best” picture in the Exhibition 
of the Liverpool Academy. This was ‘ Nature’s 
Mirror,’ now in the possession of Mr. Albert 
Woods. In the latter part of his life, Anthony 
withdrew more and more from social intercourse, 
and eventually he discontinued exhibiting at the 
Royal Academy after 1879. He continued to 
exhibit at Liverpool so long as the exhibitions 
of the Academy were continued, and afterwards 
when they were resumed under the auspices of 
the corporation, until his death, which took place 
44 


‘ ica 
Ds ER fe is 
Sites Meee 
a Ce, 


"e 
2 J 
a. 


ata 
= 


resided at the Lawn, Hampstead. His pictures _ 


are for the most part English landscapes, poectical 


and triste in sentiment, but well painted though 


unequal in merit. 


Most of his works are in private collections. His 


rather theatrical ‘Harvest Festival’ (probably the — 
‘Harvest Home’ of 1847) is in the Salford Public 
Art Gallery. His ‘Deserted Church’ and ‘Erith — 


Church’ were in the Manchester Jubilee Exhibition 


of 1886. <A recent tendency to spell this painter's — 


name Antony appears to have no justification. 
His first baptismal name was probably Henry. — 

ANTIDOTUS, a disciple of Euphranor, and the 
instructor of Nicias the Athenian, flourished about 
B.c. 336. He was more remarkable for the labori- 
ous finish of his encaustic paintings than for the 
ingenuity of hisinvention, His colouring was cold, 
and his outline hard and dry. Among the few 
pictures by him which have been noticed, were ‘ A 
Warrior ready for Combat;’ ‘A Wrestler ;’ and 
‘A Man playing on the Flute.’ Pliny is the only 
writer who has mentioned him. 

ANTIGNA, JeAN PIERRE ALEXANDRE, was 
born in 1818 at Orleans, at the college of which 
city he was educated. He was taught drawing 
by Salmon, a professor of merit, who, discover- 
ing the talent of his pupil, induced him in 1836 
to enter the studio of Norblin. After remain- 


ing here a twelvemonth he placed himself under — 


Delaroche, from whom he received, during seven 
years, instruction and counsel. Under his influ- 
ence he made, in 1841, his début in religious 
subjects, which he continued to paint until about 
1846, when he turned his attention to genre paint- 


ing, and it was in this branch of art that he 


achieved his reputation. He was awarded medals 
at the Salons of 1847, 1848, and 1851, and he also 
obtained a medal at the Paris Exhibition of 1855, 
which included a good collection of his works. He 
was decorated with the Legion of Honour in 1861. 
He died on the 27th of February, 1878. His chief 
works are: 

Angers. Museum. 
Avignon. Museum. 
Bordeaux. Museum. 


The Mirror of the Woods. 1865. 
Vision of Jacob. 
Episode of the Vendean War. 1864. 


Orleans. Jusewn, The Chimney Corner. 
9 & The First Plaything. 
” ” The Storm. 
” ” Women Bathing. 
Paris. Luxembourg.The Fire. 1850. 


0. J.D. 

ANTIPHILUS, a painter of Egypt, was of 
Greek extraction, and a pupil of Ctesidemus. He 
flourished in the time of Ptolemy Philopator, at 
the close of the third century before Christ. He 
invented the caricatures known as ‘ Grylli,’ —a 
kind of grotesque monsters, part animal or bird 
and part man. Quintilian praises him for his 
facility in painting, and he is also noticed by 
Pliny and Lucian, Amongst his works mentioned 
are a ‘Satyr with a Panther-hide,’ a‘ Boy blow- 
ing a Fire,’ and portraits of Philip of Macedon 
and Alexander the Great. 

ANTIQUUS, JonAnnes, was born at Gréningen 
in 1702, and learned from Gerard van der Veen the 
art of painting on glass, which he practised for 
some years; but he afterwards became a scholar 
of Jan Abel Wassenberg, a respectable painter of 
history and portraits, under whom he studied some 
time. He afterwards went to France, where he 
was much employed as a portrait painter, but did 


He occasionally touched genre, — 
and in 1865 exhibited a sheep-washing subject. 


ANTONELLO DA MESSINA 


[National Gallery, London 


ST. JEROME IN HIS STUDY 


nel photo| 


Hanfsta 


~*~ 


iP © 


not long remain at Paris, being desirous of visiting 


Italy. He resided chiefly at Florence, where he 


| was employed by the Grand Duke of Tuscany for 
| —s- Six: years. 
of the ‘ Fall of the Giants,’ which was esteemed of 


His principal work was a large picture 


sufficient merit to occasion the sketch of it to be 
placed in the Florentine Academy. After passing 
several years in Italy, he returned to Holland, 
where he met with a very flattering reception, and 
was employed by the Prince of Orange in the 
Palace of Loo, where he painted a large picture of 
‘Mars disarmed by the Graces,’ and several other 
works. He was a correct draughtsman ‘and a 
good colourist. He died in 1750. His brother 
LAMBERT was also a painter of merit. He was 
living at Groningen as late as 1751. 

ANTOINE, SspasTIEN, an engraver of no great 
celebrity, was born at Nancy, in 1687. We have 


_ by him a portrait of Augustin Calmet, a large oval 


plate, dated 1729 ; the ‘ Enterprise of Prometheus,’ 
from the ceiling at Versailles, painted by Mignard ; 
and a representation of the crown of jewels used 
at the coronation of Louis XV. in 1722. He 
worked chiefly with the graver, in a slight, feeble 
style. He is known to have engraved as late as 


11761. 


ANTOLINEZ, Jos#, was born at Seville in 
1639. At an early age he was sent to Madrid to 


_ study under Francisco Rizi, one of the painters of 


Philip IV. He painted history and portraits, and 
was also admired for the landscapes he introduced 
-into his works. Palomino spoke favourably of 


- two pictures by this master, which were in the 


church of La Magdalena at Madrid; they repre- 
sented the ‘ Miraculous Conception,’ and the ‘ Good 
Shepherd.’ He died, from the effects of wounds 
received in a duel, at Madrid-in 1676. 

ANTOLINEZ y SARABIA, Francisco, who was 
born at Seville in 1644, was nephew of José Anto- 
linez. He was an historical and landscape painter, 
and studied in the school of Murillo, whose style 
and manner of colouring he followed. He went to 
his uncle at Madrid in 1672; but notwithstand- 
ing his having already distinguished himself as a 
painter, he left the profession for literary pursuits, 
and for the purpose of obtaining a lucrative situa- 
tion at the bar, having been originally educated at 
Seville for the law. Being unsuccessful, he was 
compelled again to have recourse to painting as a 
means of subsistence. It was then that he pro- 
duced those small pictures from the Bible and the 
life of the Virgin, which are so much admired by 
amateurs for their invention, colour, and facility 
of execution. He died in 1700 at Madrid, regretted 
by the true friends of art, who lamented the mis- 
application of those talents with which he was 
endowed. 

ANTON von WORMS. See Woensam. 

ANTONAZO (or AnTontAccr). See AQUILIO. 

ANTONELLO pa MESSINA. See Anronio, 
ANTONELLO D’. 

ANTONIANUS, Sitvanus. According to Pa- 
pillon, this artist was an engraver on wood, and 
flourished about the year 1567. He executed a set 
of cuts for a book of Fables, published at Antwerp 
in 1567, entitled Centum Fabule ex antiques 
auctoribus delectee, et a Gabriele Faerno Cremo- 
nenst carminibus explicate. He usually 
marked his prints with a monogram com- RAS 
posed of an 9 and an A. ; 

ANTONIASSO (or AnTonracci). See AQUILIO. 

ANTONIO, ANTONELLO D’, (or DEGLI ANTONS), 


> Per 


PAINTERS AND ENGRAVERS. 


commonly known as ANTONELLO DA MEssINA, played 
an important part in the introduction of oil paint- 
ing into Italy. We have few authentic details of 
this artist’s life. He was born at Messina about 
the middle of the 15th century (some writers say 
in 1414, others in 1421, &c.), and studied art in 
Sicily, where he painted some time. According 
to Summonzio, he was a scholar of Colantonio, 
an obscure artist. He went subsequently to 
Naples, and having seen there, in possession of 
Alfonso of Aragon, a painting by Jan van Eyck, 
he was so struck by it, that he left everything 
and went to Flanders, where he studied princi- 
pally after the works of Van Eyck, and became 
acquainted with his disciples, in conjunction with 
whom he is supposed to have executed several 
works, After having thus acquired the art of 
painting in oil, he returned to Italy about the 
year 1465, and it is quite certain that he was at 
Messina in 1472 and 1473, when he painted in San 
Gregorio a triptych, representing the Virgin and 
Child enthroned, with two Angels holding the 
crown, between St. Benedict and St. Gregory. In 
1473 he visited Venice, where he painted a ‘ Ma- 
donna and St. Michael,’ in San Cassiano, now lost, 
which was long considered the chief ornament of 
that church; besides this he executed excellent 
portraits of a small size, for which he had high 
reputation. His introduction of painting in oil 
made a great sensation among the artists at Venice, 
and he soon became followed by Bartolommeo and 
Luigi Vivarini, Giovanni and Gentile Bellini, Car- 
paccio and Cima. He is also said to have visited 
several towns in Lombardy between 1480 and 
1485, and to have been known at Milan as an artist 
of merit. The exact date of his death is uncer- 
tain, but it probably occurred at Venice about 1493. 
Antonello was the first Italian painter who prac- 
tised Van Eyck’s method of painting in oil. He 
was an eminent colourist, and his tones are so 
warm, clear, and bright that he almost surpassed 
Van Eyck. Asan Italian he tried to unite a certain 
simplicity and natural beauty with the character- 
istic Flemish execution of the details; but he did 
not succeed, and for that reason his outline is 
sometimes stiff and hard. His portraits were 
entirely successful, and possessed, in spite of all 
the detail, a certain idealism. The following is a 
list of some of his authentic paintings, compiled 
for the most part from Meyer’s ‘ Kiinstler-Lexikon:’ 


Museum. Christ on the Cross between the two 
Thieves, with the Virgin and the 
Evangelist. 1475. 
Museum. The Virgin with the Child in a land- 
scape (signed). 
St. Sebastian (szyned). 
A man’s portrait (signed 1445; 
originally 1478 ?). 

Dresden. Gallery. St. Sebastian. 

Genoa. Spinola Pal, Ecce Homo. 

London. Wat. Gallery. Salvator Mundi. 1465. 

The Crucifixion. 

re - St. Jerome in his Study. 

Messina. S.Gregorio. The Virgin and Child between 
St. Gregory and St. Benedict. 
1473. 

S. Niccold. St. Nicholas. 

Louvre. Portrait of a man, dated 1475 (pur- 
chased at the Pourtalés sale wm 
1865, for frs. 113,500 = £4540). 

Rome. Pal. Borghese Portrait of a man in a red dress. 


Antwerp. 


Berlin. 


9 ”? 
3? ” 


9” 99 


” 
Paris. 


1475. ; 
Christ bound to the pillar. 
A Nun in tears. 


% ”» 45 


Venice. Academy. 


BN 
ven 


A BIOGRAPHICAL DICTIONARY OF ieee 


Venice. Academy. A Virgin reading ata desk. 
» Casa Giovanelli, The portrait of a young Patrician. 
Vienna. Gallery. The dead body of Christ supported 
by three Angels. 


ANTONIO, Grrotamo DA, a Carmelite Friar, 
who entered his order in 1490, at Florence, and 
worked in it and for it until his death in 1529. He 
is known chiefly by two works—the one a picture 
of ‘Christ as a Man of Sorrows,’ signed and dated 
1504, in the Carmine: the other, an altar-piece, 
representing ‘Christ adored by the Virgin and St. 
Joseph,’ signed and dated 1519, in the Scuola 
della Carita, at Savona. 

ANTONIO, Pepro, was born at Cordova in 1614, 
and was a scholar of Antonio del Castillo. Some 
pictures which he painted for the convent of San 
Pablo at Cordova, established his character as a 
good colourist. He died in 1675 in his native city. 

ANTONIO pa FERRARA. See FERRARA, 

ANTONIO pa MONZA, Fra. See Monza. 

ANTONIO pa MURANO. See Murano. 

ANTONIO pa TRENTO. See Trento. 

ANTONIO pze HOLANDA. See Honanpa. 

ANTONIO pe SAN ANTONIO. See San An- 
TONIO, 

- ANTONIO VENEZIANO. See VENEZIANO. 

ANTONISSEN, Henricus JosEPHUS, a painter of 
landscapes and cattle, was born at Antwerp in 
1737. He entered the studio of Balthazar Beschey, 
in 1752-53, and three years later he was free of the 
- Guild at Antwerp of which he was twice Dean. 
His works are mostly in private collections on the 
Continent. In the Stadel Gallery at Frankfort 
there is a ‘ Landscape with Cattle’ by him; signed 
and dated 1792. He died at Antwerp, in 1794. 
He instructed numerous scholars, and amongst 
them the celebrated Ommeganck. 

ANTONISZOON, CorneEtis. See ANTHONISZOON. 

ANTONJ, Dra. See ANTONIO, ANTONELLO D’. 

ANTUM, Aart VAN, was a Dutch marine-painter, 
who flourished from about 1630 to 1640. A sea- 
piece by him, signed A. A., is in the Berlin 
Museum. 

APARICIO, Jost, a Spanish historical painter, 
was born at Alicante, in 1773, and studied in Paris 
under David. His chef-d’ceuvre, ‘ The Redemption 
of Algerian Captives,’ is in the Madrid Gallery. 
He died in Madrid, in 1838. 

APELDOORN, JAN, a landscape painter and 
designer, was scholar to Jordan Hoorn, at Amers- 
foort, where he was born in 1765. He painted but 
few pictures in oil. He resided nearly fifty years 
at Utrecht, but died in his native town in 1838. 

APELLES, the greatest of all Grecian painters, 
was probably born at Colophon in Ionia, although, 
according to Pliny and Ovid, he was a native of 
the isle of Cos; whilst Strabo and Lucian call him 
an Ephesian. Neither the date of his birth, nor 
that of his death, is known ; it is only certain that he 
flourished from before B.c. 336 until after B.c. 332. 
He was. a disciple of Pamphilus, and was probably 
of a distinguished family, as no student of mean 
birth was admitted into the school of that master. 
Combining in himself all the excellences of the 
artists who had preceded him, and endowed with 
a genius capable of contending with the most 
arduous difficulties, Apelles is generally supposed 
to have carried art to the highest attainable per- 
fection. He not only excelled in composition, 
design, and colouring, but also possessed an un- 
bounded invention. He was select and beautiful 
in his proportions and contours, and, above all, his 


46 


figures were always distinguished by an unspeak-_ 
able grace, which was peculiar to him, and may be 


almost said to have been the effect of inspiration. _ 
No painter ever applied to the study of his art 


with more persevering assiduity than Apelles, He 
never permitted a day to pass without practising 


some branch of his art; hence the proverb, Nulla . 


dues sine lined. 
His extraordinary talents, and the polished ~ 


~accomplishments of his mind, secured him the 


patronage and esteem of Alexander the Great, 
from whom he received the exclusive privilege of — 
painting his likeness. Among others, was a por- — 
trait of Alexander holding a thunderbolt, painted 
on the walls of the temple of Diana, at Ephesus: 
which was so admirably executed, that Plutarch ~ 
reports that it used to be said there were two 


Alexanders, one invincible, the son of Philip, the — 


other inimitable, the work of Apelles. For this 
picture he received twenty talents (£4320). 


But his most admired production, which is said 
to have cost the enormous sum of 100 talents Y 


(£21,600), was a picture of Venus rising from the 
sea, called ‘ Venus Anadyomené,’ which was painted 
for the temple of Adsculapius at Cos, and which 
Ovid has celebrated in his verses : : 
Si Venerem Cois nunquam pinxisset Apelles, 
Mersa sub equoreis illa lateret aquis. 

Pliny'asserts that Alexander permitted his fa 
vourite mistress, the beautiful Campaspe, to sit to 
him for his Venus, and that the painter became 
so enamoured of his model, that the conqueror 
resigned her to him, Other writers pretend that 
Phryne served him as a model for his Venus. We 
are told by Ailian, in his ‘ Various Histories,’ that, 
having painted a portrait of Alexander on horse- 
back, which was not so much admired as it de- 
served by the monarch, whose horse neighed at 
the sight of the charger in the picture, Apelles said 
to Alexander: “Sire, it is plain that your horse is 
a better judge of painting than your Majesty.” 

One of this painter’s disciples having shown him 
a picture of Helen, which he had loaded with gold, 
‘*Young man,” said the painter, ‘‘ not being able 
to make thy Helen beautiful, thou hast resolved 
to make her rich,” 

One of the chief excellences of Apelles in por- 
trait painting was to give so perfect a resemblance 
of the person represented, that the physiognomists 
were able to form a judgment as easily from his 
pictures as if they had seen the originals, This 
readiness and dexterity in taking a likeness was of 
singular utility to the painter, in extricating him 
from a very perilous dilemma into which he was 
thrown at the court of Ptolemy. When that 
prince reigned in Egypt, Apelles, who had not 
the good fortune to be in favour with Ptolemy, 
was driven by a storm into the port of Alexandria, 
where his enemies suborned a mischievous fellow, 
who was one of the king’s buffoons, to play a 
trick upon him, by inviting Apelles, in the king’s 
name, to supper. On his arrival, finding Ptolemy 
surprised, and not very well pleased with his visit, 
he apologized for his coming by assuring the 
king that he should not have presumed to wait 
upon him but by his own invitation. Being re- 
quired to point out the person who had thus im- 
posed upon him, he sketched his portrait from 
memory, with a coal upon the wall, which Ptolemy 
instantly recognized to be his buffoon. This ad- 
venture reconciled him to Ptolemy, who after- 
wards loaded him with wealth and honours. 


Be Antiphilus, a painter of reputation, though 


_ greatly inferior to Apelles, who was then at the 


court of Ptolemy, accused him of having been 
implicated in the conspiracy of Theodotus, 
governor of Pheenicia, affirming that he had seen 
Apelles at dinner with Theodotus, and that, by 
the advice of that painter, the city of Tyre had 
revolted, and Pelusium had been taken. The 
accusation was totally groundless, Apelles never 
having been at Tyre, and having no acquaintance 
with Theodotus. Ptolemy, however, in the height 
of his resentment, without examining into the 
affair, concluded him guilty, and would have 
punished him with death, had not an accomplice 
of the conspirators declared his innocence, and 
proved that the accusation originated in the 
jealousy and malevolence of Antiphilus. Stung 
with confusion at having listened to so infamous 
a slander, Ptolemy restored Apelles to his favour, 
presented him with a hundred talents, to compen- 
sate for the injury he had sustained, and con- 
demned Antiphilus to be his slave. 

On his return to Greece, as a memorial of the 
persecution, and to avenge himself of his enemies, 
Apelles painted an allegorical picture representing 
‘Calumny,’ in which he seems to have exerted all 

his inventive faculties. . Of this ingenious compo- 
sition, Lucian has furnished us with the following 
description: “On the right of the picture was 
seated a person of magisterial authority, to whom 
the painter has given large ears, like those of 
Midas, who held forth his hand to Calumny, as if 
inviting her to approach. He is attended by 
Ignorance and Suspicion, who are placed by his 
side. Calumny advanced in the form of a beau- 
tiful female, her countenance and demeanour ex- 
- hibiting an air of fury and hatred. In one hand 
she held the Torch of Discord, and with the other 
dragged by the hair a youth, personifying Inno- 
cence, who, with eyes raised to heaven, seemed 
to implore the succour of the gods. She was pre- 
ceded by Envy, a figure with a pallid visage and 
an emaciated form, who appeared to be the leader 
of the band. Calumny was also attended by two 
other figures, who seemed to excite and animate 
her, whose deceitful looks discovered them to be 
Intrigue and Treachery. At last followed Re- 
pentance, clothed in black, and covered with con- 
fusion, at the discovery of Truth in the distance, 
environed with celestial light.” Such was the 
ingenious fiction which indicated the vengeance of 
Apelles, and which may be regarded as one of 
the most admirable examples of emblematical 
painting that the history of the art affords. 
Raphael made a drawing from Lucian’s description 
of this picture ; it is now in the Louvre. 

It was customary with Apelles to exhibit his 
pictures publicly, not for the purpose of being 
flattered with the incense of applause, but with an 
intention of profiting by whatever just criticism 
might be made on the work. That the public 
might feel themselves at liberty to express their 
sentiments freely, he usually concealed himself 
behind a panel, that his presence might not be 
a restraint on the expression of their judgment. 
On one of these occasions, a cobbler found fault 
with some incorrectness in the representation of a 
slipper, and Apelles, convinced of the judicious 
observation of the artisan, made the necessary 
alteration. The picture being again offered to 
public view in its improved state, the cobbler, 
proud of the success of his first criticism, ventured 


PAINTERS AND ENGRAVERS. 


\ 


/ 


to find fault with the leg, when Apelles, discover- 
ing himself, addressed to him the well-known 
sentence which has since become proverbial, Ve 
supra crepidam sutor. The modesty of this great 
painter was not less worthy of admiration than 
his extraordinary talents, Far from being jealous 
of his contemporaries, he not only extolled their 
merit, but, favoured as he was by fortune, made 
use of his wealth in promoting the interest of his 
rivals. His generous conduct to Protogenes is 
generally known, and is more particularly noticed 
in the account of that painter. Apelles wrote a 
het on painting, which has unfortunately been 
ost. 

APENS, C., a Dutch engraver, who worked at 
Gréningen in the second half of the 17th century. 
He engraved the portraits of Samuel Maresius, D.D., 
and other persons. 

APOLLODORUS, a Greek painter, was a native 
of Athens, and flourished about B.c. 408. He was 
the first who succeeded in the blending of tones, 
and in the distribution of light and shadow, and 
may be called the inventor of chiaroscuro. Among 
his works is mentioned a picture of ‘ Ajax struck 
by Lightning,’ which was formerly at Pergamus. 

APOLLONIO, Giacomo, was born at Bassano in 
1582 or 1584, He was the grandson of Jacopo da 
Ponte, and received instruction in art from his 
uncles Girolamo and Giambattista da Ponte. His 
style is precisely that of his instructors, and his 
works are only distinguished from theirs by a less 
vigorous tone and a less animated touch. In the 
cathedral at Bassano is a ‘ Magdalene’ by this 
master; and a picture of ‘Christ on the Cross, 
adored by St. Bonaventura,’ signed and dated 1611, 
is in the church of the Padri Riformati; but his 
most esteemed work is the ‘ Martyrdom of St. 
Sebastian,’ in the church dedicated to that saint. 
He died in 1654, and was buried in San Francesco, 
in Bassano, 7 

APONTE, Pepro ps, (or PonTE), who was born 
at Saragossa in the beginning of the 15th century, 
was painter to John II. of Aragon. Ferdinand V. 
took him to Castile, and appointed him ‘ pintor 
de camera’ in 1479. Heis said to have studied in 
Italy under Luca Signorelli and Ghirlandaio. He 
may be considered one of the founders of the 
school of Aragon. He painted an altar-piece in 
the parish church of San Lorenzo at Huesca. 

APOSTOOL, CorneEtis, a Dutch amateur painter, 
and engraver in aquatint, was born at Amsterdam 
in 1762. He visited England, but returned home 
in 1796, and was in 1808 appointed director of the 
Amsterdam Museum, which office he held until his 
death in 1844. He engraved a portrait of Lavinia 
Fenton, afterwards Duchess of Bolton, after Ho- 
garth, as well as landscapes for the ‘Beauties of 
the Dutch School,’ ‘Select Views in the South of 
France,’ ‘ Travels through the Maritime Alps,’ and 
Daniell’s ‘ Views of Hindostan.’ 

APPEL, JAkos, was born at Amsterdam in 1680. 
After passing some time under Timotheus de Graaf, 
he was instructed in landscape painting by David 
van der Plaas. According to Descamps, he at first 
imitated the works of Tempesta, but changed his 
manner, and adopted that of Albert Meijeringh. 
His landscapes are not without merit; but he was 
more successful in his portraits. He died in 1751 
at Amsterdam. 2h § Ep ean 

APPELIUS, Jzan, who was born, it is said, in 
Switzerland, flourished at Middelburg in the second 
half of the 18th century as a painter of portraits, 

47 


A BIOGRAPHICAL DICTIONARY OF — ee 


history, and landscapes. His productions are gener- 

ally large, and exhibit much artistic talent. 
APPELMAN, BarEnD, was born at the Hague 

in 1640, and in his youth visited Italy. His land- 


scapes are taken from the views in the vicinity | p 


of Rome. In 1676 he entered the Painters’ Guild at 
the Hague. He was at one time employed by the 
Prince of Orange, and decorated a saloon in the 
palace at Soestdijk with very pleasing landscapes 
painted in a good style, and well coloured. He 
also painted portraits, and put in the landscape 
backgrounds of many of the portraits of Jan de 
Baan and others. He died in 1686. 

APPELMANS, G., was a native of Holland, and 
flourished at Leyden about the year 1670. He 
was chiefly employed in engraving portraits and 
other book-plates for the publishers. He also 
engraved the portrait of Thomas Bartholinus, and 
the plates for the ‘Anatomia Bartholiniana,’ pub- 
lished in 1674. They are neatly executed, but 
in a stiff, formal style. 

APPERT, Evc&ne, who was born at Angers in 
1814, went to Paris in 1837, and became a disciple 
of Ingres. He painted numerous pictures of merit, 
among which are a portrait of ‘Pope Alexander ITI. 
as a Beggar,’ which is now in the Luxembourg ; 
‘Nero before the dead body of Agrippina,’ in the 
Museum of Montauban, and several pictures of 
religious subjects in the hospital of Angers. Ap- 
pert painted genre and historical subjects, and also 
still-life. He was a Chevalier of the Legion of 
Honour. He died at Cannes in 1867. 

APPIANI, AnprzEA, ‘the elder,’ who was born 
at Milan in 1754 (or 1761 ?), excelled both in fresco 
and oil painting. In his style there is much origin- 
ality, and a gracefulness which approaches that of 
Correggio. His best performances in fresco are to 
be seen in the palace at Milan; they have been en- 
graved by Rosaspina and others, Of his works in 
oil, ‘Rinaldo in the garden of Armida,’ ‘Olympus,’ 
and ‘ Venus and Cupid,’ are specimens of great 
beauty. Napoleon sat to him for his portrait, and 
appointed him his painter. A portrait of ‘ Napoleon 
enthroned between Victory and Peace’ is in the 
Leuchtenberg Gallery, at St. Petersburg, a ‘ Boaz 
and Ruth’ is in the Belvedere, at Vienna. At the 
restoration of the Bourbons he lost his pension, and 
an attack of apoplexy, which he had suffered in 
1813, having rendered it impossible for him to 
paint, he was reduced to the extremity of selling 
all his drawings and other valuables to procure 
subsistence. He lived in this condition until 1817, 
when another attack of apoplexy caused his death 
at Milan. He was a member of the 
Legion of Honour, and a knight of the 
Iron Crown. 

The following works are also by him: 

Milan. Portrait of Himself. 

Jupiter crowned by the Hours. 

Portrait of Bonifazio Asioli, musi- 
cian. 

Portrait of General Charles-Antoine 

Desaix. 

Portrait of Napoleon Buonaparte. 


Apollo and the dying Hyacinthus 

(fresco). 

Daphne pursued by Apollo (fresco). 
St. John the Evangelist (fresco). 
Apollo’s Chariot. 

APPIANI, Anprga, ‘the younger,’ who was the 
great-nephew of the painter of the same name, was 
born in 1817. He studied at Rome under Minardi 
and Frans Hayez, and became a good historical 


Gallery. 


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painter. He was employed by the King of ‘Italy, 
the Emperor of Austria, and other personages of 
celebrity. Of his works may be mentioned ‘ Petrarch — 


and Laura’ (1852); ‘Laban and Jacob,’ and ‘La 
overa Maria’ (1859). He died in 1865. 


pleasing and harmonious style. Of this he has 


given proof in his picture of ‘The Death of St. 4 


Domenick,’ which was painted by order of Bene- 


dict XIII. for the church of San Sisto Vecchio in 


Rome, and procured him the honour of a gold 
medal and chain. He resided the greater part 


of his life at Perugia, where he decorated the ~ : 


choir of the cathedral, and many of the churches, 
He died in 1792. 
APPIANI, Niccoud, (or Apprano), a Milanese 


painter, who flourished about the year 1510. It — 


is said that he was a scholar of Leonardo da Vinci, 


and Cesariani compares him with the greatest 


masters of the age. ‘Two works in the Brera, the 
‘Baptism of Christ,’ and the ‘ Adoration of the 
Magi,’ are ascribed to Appiani. 

APPIER, JEAN, called HANZELET, an engraver 


and etcher, flourished in Lorraine in the first half — & 


of the 17th century. His works, which are exe- 
cuted in Callot’s early manner, bear dates from 
1610 to 1630, and are signed with the initials 
I, A. H. (Jean Appier Hanzelet), or 7. A. (Jean 
Appier), or in full. Besides the following, he 


2 

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APPIANI, Francesco, was born at Ancona in 
1704, and was a scholar of Domenico Simonetti, 
called Il Magatta. He afterwards studied at Rome, 
in the time of S. Conca and Mancini—with whom 
he lived in habits of intimacy—and acquired a 


executed various engravings of pyrotechnic instru- 


ments used in war and for amusement. 

Portrait of Elisée de Harancourt, Governor of Nancy. 
Faict a Nancy par Jean Appier, 1610 (an etching 
Jinished with the graver). 

Ornamental Title-page and small Views of a Journal of 
a Travel in the Levant. 

Title-page. An Allegory. J. A. Hanzelet, fecit, 1617. 

Missale Romanum, 1621. © 

APSCH, Jerom ANDREAS, a German engraver 

on wood, born at Nuremberg about the year 1490, 
He assisted Hans Burgkmair in executing the 
woodcuts for a book published at Vienna, entitled 
Der Weyss Kunig, or ‘The Wise King,’ contain- 


ing the principal events of the life and reign of —_— 


the Emperor Maximilian I. He died in 1556. 

APSHOVEN. Concerning a family of artists 
of this name much uncertainty has been expressed. 
The two brothers, Thomas (miscalled Theodor), 
and Ferdinand, have been, by some, considered to 
be the same man. As regards the spelling of the 
surname, it is sometimes found Apshoven, and 
sometimes Abshoven or Abtshoven, but the first 
seems to be the most correct form. 

The following are the members of the Apshoven 
family who practised art at Antwerp in the 16th 
and 17th centuries. Some are too unimportant for 
separate notices. 

FerdinandI. ( —ab. 1618). 


Ferdinand II. (1576—1654-5). 


Thomas (1622—1664-5). Ferdinand III. (1630—1604). 
Ferdinand IV. (1649— ). Willem (1664—  ). \ 
Waagen mentions a Michael van Apshoven, but 
he is not recorded by any other author. The 
information given below is taken, in a great 
measure, from Meyer’s ‘ Kiinstler-Lexikon.’ 
APSHOVEN, FERDINAND VAN, ‘the elder,’ is 
recorded to have been baptized at Antwerp, on the 


4 2 


- guard.’ 


free of the Guild of Painters of that city. He was 
both an historical painter and a portraitist; but no 
work by him exists. That he was successful as a 
teacher in art is evident, for the records of the 
Guild mention seven pupils of his. He died in 
1654 or 1655. 

APSHOVEN, FrrpinanD VAN, ‘the younger,’ 
son of the painter of the same name, and brother 
of the more celebrated Thomas, was baptized in 
1630. He was a pupil of Teniers the younger, 
and in 1657-58 he was admitted to the Antwerp 
Guild as a master’s son. In 1664 he took the oath 
as Captain in the 13th Division of the ‘ Civic- 
In 1678-79 he was offered, but declined to 
accept, the office of Dean to the Guild. In 1694 he 
died, and was buried in the church of St. Walburg, 
in Antwerp. Ferdinand van Apshoven’s pictures, 
like those of his brother, closely resemble the 
style of Teniers, under whose name many of them 
have passed. An Interior, with two figures— 
almost equal to a Teniers—is in the Rotterdam 
Museum; another Chamber, with three figures, 
is in the Museum at Dunkirk ; and a third, ‘ Peas- 
ants in a Tavern,’ is in the possession of M. van 
Lerius, of Antwerp. 

APSHOVEN, TxHomas vAN (miscalled THEODOR), 


son of Ferdinand the elder, was baptized at Ant- 


werp on the 30th of November, 1622. He became 
the favourite pupil of David Teniers the younger, 
whose style he imitated with much success. We 
find various. records of Apshoven. In 1652 he 
took the oath as standard-bearer in the 6th Division 
of the Civic-guard, and in 1657 he was made 
Captain of the 8th Division. His death occurred 
between the 18th of September, 1664, and the 
same day in the following year. Apshoven’s pic- 
tures, like those of his master, represent village 
festivals, the interiors of cabarets, with peasants 
regaling and amusing themselves, corps-de-gardes, 
and chemists’ laboratories, in all of which he ap- 
proached so near to the admirable style of his 
instructor, that his pictures may easily be mis- 
taken for those of Teniers. His touch is un- 
commonly light and spirited, and his colouring 
clear and silvery. The works of this painter are 
frequently met with in Flanders, where they are 
judged worthy of being placed in the best collec- 
tions. The Dresden Gallery has a picture of 
fruits, &c., by him, signed ‘T. v. APSHOVEN.’ The 
Darmstadt Gallery has a Landscape, painted in 
1656; the Cassel Gallery ‘Dancing Peasants ;’ 
and the Prague Gallery, an Interior, by Apshoven. 

AQUA, CRrisTororo DALL’. See DAL’ Acqua. 

AQUILA, Arnoup. See HALEN. 

AQUILA, Francesco FARAONE, an eminent 
Italian engraver, was the nephew (not the brother) 
of the celebrated Pietro Aquila: he was born at 
Palermo about 1676, and established himself at 
Rome about the year 1690, and laboured there till 
about 1740. His engravings are. numerous, and 
some of them highly esteemed. His style of exe- 
cution is perhaps neater than that of Pietro, but he 
is very inferior to him in correctness of drawing 
and expression. He sometimes worked with the 
graver only, but his plates in that way are cold, 
wanting in effect, and by no means equal to those 
in which he called in the assistance of the point. 
Some of his prints are after his own designs. 
Among his works is a set of nineteen large plates 
of the ‘Stanze’ of the Vatican, after Raphael, 


E 


PAINTERS AND ENGRAVERS. 


| 17th of May, 1576. In 1592-93 he entered the 
atelier of Adam van Noort, and in 1596-97 he was 


entitled Picture Sanctij Urbinatis ex Aula et 
ss dase les Palatis Vaticant (1722); also as 
elow: 


St. Rosalia ; from his own design. 

Mars, with his armour hung on a tree* the same. 

The Cardinal Casini; after Vicinelli. 

cai Coram Giuseppe Maria de Thomasijs; after P. 

elit. 

La Vierge au Panier ; after Correggio. 

The Last Supper ; after Albani. 1711. 

The First Vault in the Vatican; after Ciro Ferri; 
1696 ; circular. 

Two cupolas, one in the chapel of the Holy Sacrament, 
and the other in the church of San Sebastian; after 
Pietro da Cortona ; circular. 

Another cupola, in the Chiesa Nuova; after the same 
painter ; circular. 

A Warrior, to whom Mars offers a sword, and Minerva 
a crown of laurel; after Ant. Bonjigli. 

The Victory of Constantine over Maxentius; after And. 
Camasset. 

The Triumph of Constantine ; after the same. 

The dead Saviour in the lap of the Virgin Mary, with 
St. Mary Magdalene, and St. Francis ; after Carracci. 

A Bishop announcing to the Virgin Mary the arrival of 
the body of St. Helena. 

The Repose in Egypt, with St. Joseph at work in the 
background. 

The Bark of St. Peter; after Lanfranco. 

Our Saviour with a Glory, the Virgin Mary, St. Am- 
brose, and St. Charles Borromeo; after Carlo Maratti. 

Three large prints-—Of the vault of St. Francis Xavier 
at Naples; after Paolo de Mattei. 

Venus showing the arms to Mneas,; after NV. Poussin. 


AQUILA, Gioraio, called ‘Maestro Giorgio da 
Firenze,’ flourished from 1314 to 1325. He was a 
native of Florence, and is said to have been the 
first Italian artist who used nut oil in painting. 

AQUILA, Pirrro, the uncle of Francesco, was 
born at Marsala, near Palermo, probably between 
1640 and 1645. The early part of his life was 
passed in a seminary, preparatory to his devoting 
himself to an ecclesiastical life ; and on his arrival 
at Rome he actually became a monk, which seclu- 
sion, however, did not prevent his following his 
natural inclination for art. He died toward the 


close of the 17th century. According to Baldinucci 
he was a respectable painter, but his reputation 
has reached a higher rank as an engraver. His 
plates in a bold and free manner. His best prints 
are those he engraved after the Carracci, which are 
very highly esteemed, and the five mentioned 
number of his plates is very considerable, 
some of which are engraved from his own R 
compositions : viz. 
The Adoration of the Magi. 
The Flight into Egypt; dedicated to B. C. de Vingte- 
milliis. 
Saviour. : 
Lions fighting ; an emblematical subject ; inscribed spes 
suscitat tras. 
Emperors, from medals in the cabinet of Queen 
Christina of Sweden. 
SUBJECTS AFTER ITALIAN MASTERS. 
Sacrifice of Polyxena; after Pietro da Cortona. 
Xenophon returned from the Chase ; after the same. 
The Rape of the Sabines; after the same. 
The Triumph of Bacchus; after the same. : 
Moses and the Daughters of Jethro; after Ciro Ferri. 
Moses striking the Rock ; after the same. 


drawing is extremely correct, and he etched his 
below after Pietro da Cortona are very fine. The 
SUBJECTS AFTER HIS OWN DESIGNS. 
The Holy Family, with St. John kissing the foot of our 
Fourteen plates containing 160 medallions of Roman 
St. Luke, Patron of the Academy; after Lazzaro Baldi. 
The Battle of Arbela; after the same. 
The Virgin Mary appearing to St. Alexis ; after sp ae 


*) 


A BIOGRAPHICAL DICTIONARY OF 


The Vestals keeping up the sacred fire ; after the same. 

La Vierge au Pistolet; after Carlo Maratti. 

The Triumph of Religion; after the same. 

St. Luke showing the Virgin Mary the portrait he had 
painted of her ; after the same. 

The Death of the Virgin; after Morand. / 

The Bible of Raphael, a set of fifty-two prints; en- 
titled Imagines Veteris ac Novi Testamenti. Cesare 
Fantetti engraved thirty-seven of the prints in this 
Bible; the remaining fifteen are by Pietro Aquila, 
and are very superior to those of Fantetti. 

The Farnese Gallery, in twenty-five plates, with the 
statues and ornaments. 

The Chamber of the Palace Farnese, in thirteen plates ; 
inscribed Imagines Farnesiant Cubicult. 

The Assembly of the Gods, from the painting by Lan- 
franco, in the Villa Borghese at Rome ; in nine plates. 

There are some other plates by this artist, which 
will be found described in the ‘ Dictionnaire des 
Artistes,’ by Heineken, and in Meyer’s ‘ Allge- 
meines Kiinstler- Lexikon.’ 

AQUILA, Pompro DALL’.. See DALL’ AQUILA, 

AQUILIO, Anronto, called ANTonIASsO, ANTO- 
NIACCI, or ANTONAZO, was a painter who flourished 
in Rome in the latter part of the 15th century. 
He was much employed for the churches and con- 
vents ; but his style was only mediocre. A paint- 
ing by him of the year 1464 is in the sacristy of 
the convent of Sant’ Antonio del Monte at Rieti. 
It represents the Madonna and Child with SS. 
Anthony and Francis. Another, of the year 1483, 
is in the cathedral of Velletri, and a third is in 
the cathedral of Capua. It was executed in 1489 
for Girolamo Gaetano, Archbishop of Capua, and 
bears the following inscription: ANTONATIUS RO- 
MANUS M. FOR. P. MCCCCLXXXIX. It has been much 
injured by restoration. Antoniasso died about 1500. 

AQUILIO, Marco, a son of Antonio Aquilio, is 
the author of the ‘ Resurrection,’ still preserved in 
the refectory of the convent of Santa Uhiara, at 
Rieti. The predella contains scenes drawn from 
the Passion; on the border of one of them can be 
read, Marcus ANToNIUS MaGN ANTONATII ROMANUS 
DEPINXIT M.D.X.L. 

ARAGON, Juan Dg, an historical painter who 
resided at Granada in 1580, and was one of the 
distinguished professors who ornamented the 
beautiful monastery of St. Jerome. 

ARALDI, ALEsSSANDRO, who was born at Parma 
about the year 1465, studied under Cristoforo 
Caselli, of the school of Giovanni Bellini. He 
painted history in a style which Lanzi denomin- 
ates antico moderno. In the Parma Gallery is a 
picture by this master, representing the ‘Annuncia- 
tion,’ which is mentioned as a very creditable per- 
formance; and in the cathedral there is a fresco, 
executed by him in 1509, of the ‘ Virgin and Child, 
with St. Joseph.’ The churches of his native city 
contain works by him. Hedied in or after 1530. 

ARBASIA, Cesare, a native of Saluzzo, and a 
pupil of Federigo Zuccaro, flourished towards the 
close of the 16th century. He visited Spain 
during the reign of Philip II., and there executed 
some important works, His style is an imitation 
of the works of Leonardo da Vinci, and he is incor- 
rectly stated to have been his scholar, His chief 
excellence was in fresco painting, to which the 
ceiling of the church of the Benedictine monks at 
Savigliano, the work in the Palazzo Pubblico of his 
native town, and other considerable paintings, bear 
testimony. He was an artist of great ability, and 
painted some excellent pictures at Malaga and Cor- 
dova, in fresco and oil. For a picture of the ‘ In- 
carnation,’ and some other works in the cathedral 

50 


of Malaga, he was paid three thousand ducats. At 


Cordova, in 1583, he painted in fresco,in the sanc- 
tuary of the cathedral, the martyrs of that place. _ 


Leaving Spain, probably with Federigo Zuccaro, 


his former master, he went to Rome, and was 


one of the founders of the Academy of St. Luke, 
of which Zuccaro was the first president. 


by Palomino and Cean Bermudez among the Span- 
ish painters, Palomino’s account of this painter is 
incorrect in almost every statement. 


ARBO, PETER NIKOLAI, was born at Drammen, | 


Norway, in 1831. He was a pupil in Copenhagen 
of Helsted, and studied from 1852 at the Diisseldorf 
Academy under Karl Sohn, and in Paris 1861-70. 
He was afterwards director of the drawing school 
at Christiania, where he died in 1892. Among 


his pictures, which generally represent northern — 


legend and historical scenes, the principal are 
‘The Walkyries,’ ‘Asgards Reigen,’ and ‘The Wild 


Chase’ in the National Gallery, Christiania. Others — 


are ‘Ingeborg,’ ‘Bjarke’s and Hjalte’s Death,’ ‘The 
Day,’ ‘Scenes from the Thirty Years’ War,’ ‘Scenes 
from the Time of Louis XIV.,’ and ‘The Battle 
of Waterloo.’ 

ARBOS y AYERBE, MANUEL, who was a good 
Spanish miniature painter, was sent to Rome by 
Ferdinand VIL., 


ARCA, Lronarpo DELL’. See DELL’ ARCA. 
ARCAGNUOLO (ArcaGNoLo, or ARCAGNO). 
See CionzE, ANDREA DI. . 


ARCHER, JoHN WyYKEHAM, was born at New- 


castle-upon-Tyne, in 1808. In 1820 he came to 
London, and became a pupil of John Scott, the 
celebrated engraver of animals. In 1827 he pro- 
duced in Newcastle a series of large etchings of 
Fountains Abbey in Yorkshire, and etchings of the 
Abbey Church, and Abbot’s Tower at Hexham. 
He then removed to Edinburgh, where he made 
a collection of drawings of the ancient edifices 
and streets of that town, after which he returned 
to London, and entered the studio of Messrs. W. 
and EK. Finden, in order to improve himself in 
engraving upon steel. Having been elected a 
member of the New Society of Painters in Water 
Colours, he produced a series of drawings of St. 
Mary Overy, previous to its restoration, and of 
Lambeth Palace in all its parts. Archer was 
the author of ‘ Vestiges of Old London,’ a large 
quarto volume, illustrated by etchings ; likewise 
of a series of papers in Douglas Jerrold’s Maga- 
zine, entitled ‘The Recreations of Mr. Zigzag the 
Elder,’ and of numerous contributions to different 
journals. His principal drawings are a series, 
some hundreds in number, of the ancient remains 
of London and its vicinity, in the William 
Twopenny collection, and a series of the an- 
tiquities of his native county of Northumberland, 
in the collection at Alnwick Castle. He also 
claimed to have revived the ancient practice of 
engraving on monumental brass, and produced 
several large monuments of this description from 
his own designs. He likewise painted a few works 
in oil. He died May 25, 1864. 

ARCHIMEDES. See GENoE Ls. 

ARCIMBOLDO, GrusEppz, was born at Milan in 
1533. He excelled in painting the interiors of 


kitchens, with fruit, vegetables, culinary utensils, — 


&c., and occasionally introduced into his pictures 
grotesque figures and drolleries, formed of flowers 
and fruits, which at a distance appeared like 


we 


3 
i 


and was subsequently court- 
painter to Isabella II. He died at Madrid in 1875.. 


Heis 
said to have died in Spain in 1614, and is ranked 


‘ 


human figures. He was a favourite artist of the 


Emperors Maximilian II. and Rudolph IL., in 


whose service he was employed the greater part of 
his life. He died at Milan in 1593. Four works 
by him are in the Belvedere at Vienna—‘ Summer’ 
and ‘ Winter,’ which he painted in 1563; ‘ Fire’ 
three years later ; and ‘ Water.’ 

ARCIONI, Danze, (or Crrcioni,) a worker in 
mello, who is highly praised by Ambrogio Leone, 
is little known in the history of the arts. He 
epeeere to have been a contemporary of Maso 

iguerra and other eminent niedlotori. He 
flourished at Milan about 1500. 
ARCO, Atonso pet. See Dez Arco. 

ARDEMANS, Troporo, an eminent architect 
and painter, was born at Madrid in 1664, and 
studied painting in the school of Claudio Coello. 
His father was a German. As he chiefly followed 


architecture, his works as a painter were few, but 


the fresco of the ‘ Apotheosis of St. Francis’ with 
which he ornamented the vault of the sacristy of 
San Francisco at Madrid was considered a master- 
piece. No painting by him now remains. He was 
made painter to the king in 1704, and held that 
post till his death, which took place at Madrid in 
1726. He designed the celebrated frontispiece to 


_ the ‘ Diario de los Viages de Felipe V.,’ which was 


engraved by Edelinck ; and it is said that he him- 
self practised the art of engraving. 

ARDENTE, ALEssANDRO, a Piedmontese painter, 
who appears, from the dates on his pictures, to 
have flourished from the year 1565 to 1592. In 


-the church of San Paolo, at Lucca, is a picture of 


St. Antonio Abate, signed, and bearing the former 
date; and at Moncaliere, near Turin, an altar- 
piece of the ‘Adoration of the Magi,’ with the 
latter. At Turin, in the Monte della Pieta, is a 
picture of the ‘ Conversion of St. Paul,’ by Ardente, 
painted with a grandeur of style that would in- 
duce us to think he was educated in the Roman 
school. He was painter to Duke Charles Emmanuel 
of Savoy, in whose service he died in 1595. 

AREGIO, Pasto pz, (ARIGO, or ARREGIO,) is 
named among the Spanish painters, but it is more 
than probable that he was an Italian, as his name 
imports (Paolo da Reggio, or Arezzo). He painted, 
in 1506, in conjunction with Francesco Neapoli, 
the doors of the high altar of the cathedral of 
Valencia, with subjects from the Life of the Virgin, 
which are admired for correct design, noble charac- 
ter, grandeur of form and expression, and all those 
fine qualities in art that belong to the school of 
Leonardo da Vinci, of whom both the painters are 
supposed to have been pupils. 

ARELLANO, Jos DE, a Spanish flower painter 
of the 18th century, is represented in the Madrid 
Gallery by two works. 

ARELLANO, Juan 08, born at Santorcaz in 
1614, was a scholar of Juan de Solis, but not suc- 
ceeding in the higher branches of art, he copied 
the flower-pictures of Mario di Fiori, and after- 
wards by attention to nature became very eminent 
in that department. His pictures are highly 
esteemed in Spain, and are to be found in most of 
the collections. There are six flower-pieces by him 
in the Madrid Gallery. He died at Madrid in 1676. 

ARELLIUS was a painter of some celebrity, at 
Rome, a short time before the reign of Augustus. 
From the manner in which he is mentioned by 
Pliny, he must have possessed considerable ability. 
That writer reproaches him severely for having 
selected, as the models for his goddesses, the most 

E2 


marine subjects. 


‘remind us of the works of Correggio. 


PAINTERS AND ENGRAVERS. 


celebrated courtesans of his time; a reproach 
which he never thought of making to some of the 
greatest artists of Greece, who constantly availed 
themselves of the same practice. 

ARENDS, Jan, born at Dordrecht in 1738, was 
a brother of the poet Roelof Arends. He was 
a pupil of J. Ponse, and painted landscapes and 
He laboured many years at 
Amsterdam and Middelburg, but returned event- 
ually to Dordrecht, where he died in 1805. He 
was well skilled in perspective, and practised 
engraving. 

ARENIUS, Otor, a Swedish portrait painter, 
and son of a minister in Upland, was born in 
1701. He studied under David von Krafft, and 
afterwards went to the Netherlands to study the 
old masters. His portraits and miniatures in oil 
are much esteemed, and are to be found in all the 
public galleries, as well as in the best private col- 
lections, in Sweden. Many of them have been 
engraved. He died at Stockholm in 1766. 

ARETINO. See SPINELLI. 

ARETUSI, Cesarz, was a native of Bologna, 
where he flourished in the second half of the 16th 
century. It is not said under whom he studied, 
but he formed his style from the works of Bagna- 
cavallo. In conjunction with Giambattista Fiorini, 
he painted the cupola of the cathedral of San Pietro 
at Bologna. Aretusi died in 1612. His portraits 
are very highly esteemed, and his great success in 
that line accounts for his having executed so few 
historical works. Several of the most illustrious 
personages of his time sat to him, and his portraits 
have a beauty of colour and a breadth that 
Lanzi ob- 
serves that he was distinguished as a colourist in 
the Venetian taste, but in point of invention 
weak and dull, while Giambattista Fiorini, on the 
other hand, was full of fine conceptions, but 
worthless in his colouring. These two artists 
formed an intimate friendship, and by uniting 
their powers produced paintings of considerable 
merit. The following works, entirely executed 
by Aretusi, are at Bologna: in San Benedetto, a 
‘ Deposition from the Cross;’ in San Francesco, 
an ‘ Annunciation,’ and a ‘Conception;’ in San 
Giovanni in Monte, ‘The Birth of the Virgin ;’ in 
the Theatine Church, ‘St. Bartholomew ;’ in Santa 
Maria della Carita, a ‘Madonna, with Charity 
and St. Francis.’ He could assume the style of 
almost any painter, and even pass off his imita- 
tions for originals. Those of Correggio were par- 
ticularly successful, and he received a commission 
to execute a copy of the celebrated ‘ Notte,’ by 
that master, for the church of San Giovanni in 
Parma. Mengs, who saw it, declared that were the 
original at Dresden by any accident lost, it might 
be well replaced by so fine a replica. This per- 
formance obtained for him the honour of copying 
the painting executed by Correggio for the tribune 
of the same church, which had been removed to 
extend the choir; and that picture, says Ruta, in 
his Guida, from its accurate imitation of the taste 
displayed in the original, of its conception and of 
its harmony, led those unacquainted with the fact 
to suppose it to be the work of Allegri. This is 
confirmed by Pungileoni in his ‘ Memorie istoriche 
di Antonio Allegri, detto I] Correggio.’ 

ARETUSI, Pe.urerino pz, (generally called 
PELLEGRINO Muwnari, and also PELLEGRINO DA 
MopENA,) was instructed in painting by his father, 
Giovanni, who flourished at Modena in the latter 

51 


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YS 


_ A BIOGRAPHI 


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part of the 15th century. In 1509 he painted 


an altar-piece for the hospital of Santa Maria de’ 
Batt (afterwards Santa Maria della Neve), which 
gained him great reputation, The celebrity of 
Raphael, then in the zenith of his fame, drew 
him to Rome, where he had the advantage of 
being admitted into the school of that inimitable 
painter. His talent was soon discovered by his 
able instructor, and he was selected by him to 
assist in the great works he was then engaged on 
in the Vatican. He was entrusted to paint, from 
the designs of Raphael, the ‘ Histories of Jacob and 
Solomon,’ which he executed entirely to the satisfac- 
tion of his master. Besides these, he painted some 
pictures of his own composition for the churches 
at Rome, particularly in Sant’ Eustachio (now 


perished), and in San Giacomo degli Spagnuoli, 


where he painted, in fresco, the life of St. James. 
After the death of Raphael he returned to Modena, 
where he was employed on several of the public 
edifices, and painted in the church of San Paolo 
his celebrated picture of the ‘ Nativity of Christ,’ 
which was designed with all the grace and dignity 
of his great teacher, He also painted the ‘ Adora- 
tion of the Magi,’ in San Francesco, and the ‘ Coro- 
nation of the Virgin,’ in the church of the Servites. 
This eminent artist was high in the public esteem, 
and in the midst of a brilliant career, when the 
world was deprived of his talents by an unforeseen 
and dreadful catastrophe. His son happened to 
have a quarrel with one of his companions, which 
ended in the death of his antagonist. Pellegrino, 
apprised of the fatal accident, ran out into the 
street, to endeavour to save his son from the pursuit 
of justice; he was encountered by the relatives of 
the deceased, who fell upon him with the greatest 
fury, and killed him. This tragical event hap- 
pened in 1523. No scholar of Raphael approached 
nearer to him in the sublime character of his 
heads, and the grandeur of his forms. 

AREVALO, J.C. DE. See Cano. 

AREZZO, JAcoPINO DA, a miniature painter of 


the 15th century, illustrated, about 1435, a Bible, | 


Prayer-book, &c., for the Marchese da Ferrara, and 
shortly afterwards the ‘Commentaries’ of Cesar 
and a ‘Theseus,’ the works of Albertus Magnus, 
a Psalter, and a book of love-songs. 

AREZZO, Montano pv’, flourished about the end 
of the 13th, and the commencement of the 14th, 
centuries. In 1305 he painted two chapels of the 
Castel Nuovo, and in 1306 two chapels of the 
Castel del Uovo, at Naples. He was a favourite of 
King Robert, who knighted him in 1310. The 
chapel of the Monastery of Monte Vergine, near 
Avellino, has a picture of the Madonna said to be 
by him. The Dormitory dei Giovannetti of the 
Seminario Urbano, at Naples, has a half-length 
picture of a Bishop by him. The dates of Montano 
d’Arezzo’s birth and death are no longer known, 
and little can now be found belonging to this artist. 

ARFIAN, ANTONIO Dz, a native of Triana, a 
suburb of Seville, studied under Murillo and Luis 
de Vargas, He was employed on several import- 
ant works, both in fresco and in oil; among 
which was the grand altar-piece of the cathedral 
which he painted in 1554, in concert with Antonio 
Ruiz. Neither the date of his birth nor that of 
his death has been mentioned by any writer, but 
he was still living in 1587, in which year, with his 
son Alonzo’s assistance, he painted the ‘ Legend 
of St. George,’ in the church of the Magdalene, 

ARGENTO, Antonio DALL’. See ALEOTTI. 


52 


CAL DICTIONARY OF 


| Thebes. 


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ARGUELLO, Juan Bavrist4, painted 
in the cathedral at Seville, in 1594. — 
further is known of him. ee 

ARIAS FERNANDEZ, Anronio, an his 
cal painter, was born at Madrid about 1620, a 
studied under Pedro de las Cuevas. At the age 
fourteen he painted the great altar-piece of the C 
melite monastery at Toledo. This gained him mu 
credit; yet, far from being inflated by the praises 
he received, he pursued his studies with great 
assiduity, and at the age of twenty-five was one 
of the best painters at Madrid. The Duke of 
Olivarez selected him to paint the series of por- 
traits of the kings and queens of Spain which were 
in the old palace at Madrid. His death occurred 
in that city in 1684. The Madrid Museum has by 
him ‘ Christ with the tribute money,’ and ‘ Charles 
V. and Philip II. of Spain, seated on a throne.’ 
He left a daughter, who practised portrait-painting 
with success. “TSAO RSE, ae 

ARIDICES, of Corinth, was, with Telephanes, 
the first to improve upon the earliest essays of 
Greek artists, which consisted in tracing a simple 
outline. Aridices introduced other lines indicative 
of the internal parts of the figure, but it was still 
only an outline without colour. Ke 

ARIENTI, Caro, (or ARRIENTI,) one of the 
earliest painters of the modern Italian school, 
was born at Milan about 1800 (or at Arcore near — 
Monza in 1794); and became President of the — 
Academy in that city. He was summoned to — 
Turin by Charles Albert to paint in the royal palace 
a battle-piece representing a victory gainedoverthe 
Austrians, Arienti then settled in Turin, and was 
made President of the Art Academy, and became 
the instructor of numerous good artists. He — 
subsequently accepted the presidentship of the 
Academy at Bologna, where he died in 1873. He 
painted historical pictures of large dimensions. 
A ‘Murder of the Innocents’ by him is in the 
Belvedere Gallery at Vienna. 

ARIGO. See ARrxaio. 

ARIJAENSZ, Pieter. See AARTSEN. 
ARISTEIDES, a celebrated Greek painter who 
flourished about B.c. 360—330, was a native of 
He was a brother and pupil of Nicoma- 
chus, and contemporary with Apelles. He ex- 
celled in painting battle pictures; one of the most 
celebrated of which was ‘The Capture of a City,’ 
in which the expressions of a dying woman and 
her infant were much admired: Alexander the 
Great took this picture to Macedonia. Aristeides 
also painted a ‘ Battle with the Persians,’ in which 
there were one hundred figures; this was pur- 
chased for a large sum by Mnason of Elatea. 
Attalus, king of Pergamus, bought a picture by 
Aristeides, ‘A Sick Man on his bed,’ for 100 
talents (about £23,600), and Pliny says that 
Lucius Mummius refused more than 200 talents 
for a ‘ Bacchus’ which he captured at the siege of 
Corinth, and placed in the temple of Ceres at Rome. 
An unfinished picture of ‘Iris’ is mentioned by 
Pliny as having excited great admiration. __ 

ARISTOLAUS, a Greek painter who flourished __ 
about B.c. 308, was a native of Athens, and son 
and disciple of Pausias. He was celebrated among 
the painters of his time for the severity of his 
style ; from which we may infer that he united 
a purity of form with a strict simplicity in his 
compositions, His pictures were usually confined 
to a single figure, and he made choice of those 
eminent personages whose memory was endeared 


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in 1668. 


_ twenty years of age. 


14 to their country by their virtues and exploits. 
Among 


these were Theseus, Epaminondas, and 
Pericles. ; 
ARISTOPHON, the son and pupil of the elder 
Aglaophon, and brother of Polygnotus, was a 
native of Thasos. Pliny, who places him among 
the painters of the second rank, mentions two 
works by him—‘ Anceus wounded by the boar 
and mourned over by his mother Astypalea ;’ 
_and a picture containing figures of Priam, Helen, 


fa Ulysses, Deiphobus, Dolon, and Credulitas. 


ARLAUD, Benoit, a younger brother of Jacques- 
Antoine Arlaud, was born at Geneva. He painted 
miniatures in Amsterdam and afterwards in Lon- 
don, where he died in 1719. A few of his portraits 
are known from engravings. 

ARLAUD, Jacques ANTOINE, was born at Geneva 
His first employment in art was the 
painting of small ornamental miniatures for the 
jewellers at Dijon. He however attempted some 
portraits, and was sufficiently successful to en- 
courage him to settle at Paris, when he was about 
It was not long before he 
distinguished himself in that metropolis, and his 
pleasing style of painting portraits and fancy sub- 


_ jects recommended him to the patronage of the 


Duke of Orleans, who, being fond of the art, 
became his pupil, and accommodaied him with 


apartments in the palace of St. Cloud. He was 


also favoured with the protection of the Princess 
Palatine, who presented him with her portrait, set 
_in diamonds, and on his expressing a desire to visit 
England, gave him, in 1721, a letter of recom- 
mendation to the Princess of Wales, afterwards 
Queen Caroline, whose portrait he had the honour 
of painting. He returned to Paris, where he re- 
mained for a few years, and having acquired an 
ample fortune, he settled in 1729 at Geneva, where 
he died in 1743. Works by him are in the Library 
and Museum of that city. His own portrait is in 


_the Uffizi, Florence. 


ARMANN, VINcENz0, (called Monst ARMANNO, ) 
a Fleming by birth, was born in 1598. He prac- 
tised at Rome as a landscape painter, and his 
pictures are praised for their similitude to nature. 

ithout much selection of ground, or trees, or 
accompaniments, they charm by their truth, and a 
certain stillness of colour, pleasingly chequered 
with light and shade. Passeri relates that he was 
imprisoned by the Inquisition for eating flesh on 
fast days, and that on his liberation he quitted 
Rome in disgust, and died at Venice in 1649 on his 
way back to his native country. 

-ARMENINI, Giovanni Barrista, who was born 
at Faenza in 1540, and was a pupil of Perino del 
Vaga, published in 1587, at Ravenna, a work 
entitled, ‘ De’ veri Precetti della Pittura;’ but he is 
considered a better theorist than practitioner. He 
died in 1609. 

ARMESSIN. See Dr L’ARMEssIN. 

ARMITAGE, Epwarp, was born in London in 
1817. In 1835 he became a pupil at the Ficole des 
Beaux Arts at Paris, of Paul Delaroche, who was 
then its chief, and, shortly after, largely assisted 
that artist in the decoration of the Ecole with the 
famous Hemicycle. In 1842 he exhibited at the 
Salon, then held at the Louvre, his first picture, 
‘Prometheus Bound.’ The following year the first 
competition took place for the decoration of the 
new Houses of Parliament, and at the exhibition 
held at Westminster Hall, Armitage, then only 
twenty-six years of age, was awarded the first of 


PAINTERS AND ENGRAVERS. 


the three premiums of £300 for his cartoon ‘Cesar’s 
First Invasion of Britain.’ In 1844 he was againa 
competitor, and exhibited a cartoon ‘ Ophelia, and 
two frescoes, but did not obtain a prize. With his 
‘Spirit of Religion’ in 1845, however, he was 
successful, and obtained a prize of £200. In 1847 
he was again successful, and awarded £500 for a 
painting in oil ‘ The Battle of Meeanee,’ which was 
purchased by Queen Victoria, and is now at St. 
James’s Palace. Subsequently he executed, in 
1852, the fresco ‘The Personification of the 
Thames’ from Pope, and in 1854 ‘The Death of 
Marmion’ from Scott, both in the upper waiting- 
hall of the House of Lords. After a year’s study 
in Rome, Armitage, in 1845, made his début at the 
Royal Academy with ‘ Henry VIII. and Katharine 
Parr, and a picture of the death of Nelson, entitled 
‘Trafalgar, 1805.’ During the Crimean War he 
visited Russia, and on his return produced several 
military pictures: ‘The Bottom of the Ravine 
at Inkerman’ (1856), ‘The Souvenir of Scutari’ 
(1857), ‘The Heavy Cavalry Charge at Balaclava,’ 
and the ‘Stand of the Guards at Inkerman, After 
1860 his pictures were generally of biblical subjects. 
These include ‘ Ahab and Jezebel’ (1864), ‘ Esther’s 
Banquet’ (1865), now in the Diploma Gallery of 
the Royal Academy, ‘The Remorse of Judas’ (1866), 
presented by the artist, and now at the National 
Gallery of British Art, and ‘ Herod’s: Birthday 
Feast, now in the Guildhall Art Gallery. He 
continued, with the exception of a few years, 
until 1893 to exhibit at the Royal Academy, but 
his pictures for several years previous to this date 
showed signs of diminishing artistic ability. In 
1867 he was elected an associate, and in 1872 a 
full member of the Royal Academy, and in 1875 
was appointed Lecturer on Painting. Being pos- 
sessed of private means he was enabled to work 
independently at the subjects in which he was 
most interested. He executed gratuitously six 
wall paintings for Marylebone Parish Church, 
and the reredos in St. Mark’s Church, Hamilton 
Terrace, St. John’s Wood. In University Hall, 
Gordon Square, he painted at his own expense 
large frescoes of thirty-four figures in monochrome. 
The figures are over life size, and the composition 
twenty yards in length. He died at Tunbridge 
Wells in 1896. H.0.8. 
ARMSTRONG, Cosmo, an English engraver of 
some repute at the beginning of the 19th century, 
engraved illustrations to Kearsley’s Shakespeare 
(which appeared in 1805), to Cooke’s Poets, and to 
the Arabian Nights. He was a Governor of the 
Society of Engravers, and exhibited as late as 1821. 
ARNALD, Georee, born in Berkshire in 17683, 
was a pupil of William Pether, and at twenty-five 
years of age exhibited his first picture at the 
Royal Academy. He painted moonlight scenes, 
classical landscapes, and marine subjects, and in 
1810 was elected an Associate of the Academy. 
One of his principal pictures, for which he received 
a commission of £500, was the ‘ Battle of the Nile,’ 
now in Greenwich Hospital. He died in 1841. 
ARNAU, Juan, a Spanish painter, who was 
born at Barcelona in 1595, was a scholar of Eugenio 
Caxes, at Madrid. He painted historical subjects, 
and was chiefly employed in the churches and 
convents of his native city. In the monastery of 
the Augustines there are several pictures painted 
by him, representing subjects from the life of St. 
Augustine, and in the church of Santa Maria del 


Mar is a picture of St. Peter receiving from 


53 


,* 


A BIOGRAPHICA 


Angels the keys of the Church.’ He died at his 
birthplace in 1693. 

ARNHOLD, JoHANN SAMUEL, who was born 
in 1766 at Heinitz, a village near Meissen, studied 
in the Art School of the Porcelain factory of 
Meissen, of which he subsequently became pro- 
fessor. He was also court-painter in Dresden. 
He painted in oil and water-colours, and on porce- 
lain and enamel. His pictures sometimes repre- 
sented landscapes and hunting scenes, but he is 
chiefly famous for his fruit and flower pieces. 
He died in 1827. 

ARNOLD, GEoRGE, who was born in 1763, was 
elected an Associate of the Royal Academy in 
1810. He was appointed landscape painter to 
the Duke of Gloucester. His exhibited works 
mostly represented English scenery—occasionally 
views in France. He died in 1841. 

ARNOLD, Harriet, a landscape painter, was 
born in 1787. Under her maiden name, Gouldsmith, 
this lady exhibited frequently at the Academy, 
and at the gallery of the Water Colour Society, of 
which she was elected a member in 1813. She 
also occasionally contributed to the Suffolk Street 
Gallery. She married, rather late in life, Captain 
Arnold, R.N. The last time Mrs. Arnold con- 
tributed to the Royal Academy was in 1854, when 
she sent a ‘ Landscape with Woodcutters’ Cottages 
in Kent.’ She died in January, 1863. 

ARNOLD, HErnRIcH GOTTHOLD, who was born 
in 1785 at Lamitz, near Radeberg in Saxony, 
studied under Schubert, and improved himself by 
studying the works of Titian, Guido Reni, and 
other great masters in the Dresden Gallery. He 
painted with much success portraits and sacred 
subjects for churches, He was a professor in the 
Academy of Dresden, where he died in 1854. 

ARNOLD, JoHANN, an engraver of no great 
merit, was born at Kéniggraz in Bohemia, in 1735, 
and studied under Renz. From 1763 to 1772 he 
worked in Prague. We have by him, among 
other things, a small plate of ‘ Daniel in the Lions’ 
Den,’ and a ‘Saul and the Witch of Endor,’ both 
after F. X. Palcko. Meyer gives a list of thirty- 
one of his works. 

ARNOLD, Jonas, of Ulm, painter, designer, 
and engraver. He painted portraits, history, and 
flower-pieces, and died in 1669. He drew the 
portraits and figures engraved by Philip Kilian, 
Sigismond van Bircken, and M. Kisell. Jonas 
Arnold had two sons, who flourished at Ulm— 
JOSEPH, a portrait painter, who died in 1671; and 
Hans ULRIcH, an engraver, who died in 1662. 

ARNOULLET, Batruazar, a French engraver 
on wood, who resided at Lyons in the second half 
of the 16th century. According to Papillon, he 
executed a large woodcut of the town of Poictiers. 

ARNOULT, Nicouas, a French engraver, who 
resided at Paris in the latter part of the 17th cen- 
tury, and acquired some reputation by his por- 
traits of the personages at court. Among these 
are three of Marie of Bavaria, wife of Louis, 
Dauphin of France. No less than 257 plates by 
him are given in Meyer’s ‘ Kinstler-Lexikon.’ 

ARNOOUX, MicuHEL, a French genre painter, born 
at Belleville, Paris, in 1833. He studied under 
Cogniet, E. Frere, and Dansaert, and died in 1877. 
Amongst his works are: 


The Young Mother. 
A Future Companion. 
The Toilet. 1872. 
The Elder Sister. 


1866. 
1870. 


1875. 
54 


L DICTIONARY OF 


A Village Smith. 1876. 
The Barber’s Wife. 1877. 

ARPINO, Il Cavaliere d’. See Cesanl. 

ARRAGONI. See LAvrENrINI. ig?” 

ARREDONDO, Isrporo, an eminent Spanish 
painter, was born at Colmenar de Oreja, in 1653, _ 
He was first a scholar of Josef Garcia, but he — 
afterwards studied under Francisco Rizi. He 
painted history with much success, and on the 
death of Rizi, in 1685, he was appointed painter — 
to Charles II. of Spain. One of his principal works _ 
was a large picture of the ‘Incarnation,’ which — 
Palomino mentions as a very grand composition. — 
He painted much in oil and fresco in the churches _ 
and palaces, and the ‘Legend of Cupid and 
Psyche,’ in the royal palace, is considered one of — 
his best works. He died at Madrid in 1702. 4 

ARREGIO. See Arrato. 

ARRIENTI. See ARIENTI. — ae 

ARROYO, DizGo Dz, a miniature painter, who 
was born at Toledo in 1498, is supposed to have. 
studied either in Italy or under an Italian master. 
His delicate miniature portraits gained him much 
renown, and the appointment of painter to Charles _ 
V. He also illuminated choir-books for the cathe- _ 
dral of Toledo. Arroyo died at Madridin 1551. 

ARSENIO, Fra. See Mascaenti. — 

ARTARIA, Crauvpio, an Italian line-engraver, 
was born at Blevio near Como in 1810. He was a — 
pupil of Longhi and of Anderloni, but in 1842 — 
abandoned the practice of art in order to enter the __ 
well-known house of Artariain Vienna. Hedied ~~ 
in that city in 1862. His best works are the 
following: 


The Madonna and Child with St. John; after Luini. 
The Redeemer ; after Carlo Dolci. he 
Leonardo da Vinci; after the portrait by himself in the 

Tribune at Florence. : 
Archduke Rainer of Austria; after Pagani. 


ARTAUD, Wit14m, the son of a jeweller in 
London, gained a premium at the Society of Arts _ 
in 1776, and exhibited his first picture at the 
Academy in 1780, In 1786 he won the gold medal 
of the Academy, and nine years afterwards ob- 
tained the travelling studentship. He painted 
portraits and Biblical subjects, some of which 
were engraved in Macklin’s Bible. His last pic- 
ture exhibited at the Academy was in 1822. 

ARTEAGA y ALFARO, Francisco, brother of 
Matias, engraved, besides others, four plates of 
emblems for La Torre Farfan’s book. He worked 
at Seville, where he died in 1711. 

ARTEAGA y ALFARO, Marttas, — son of 
Bartolomé Arteaga, an engraver of repute at 
Seville in the reign of Philip IV.,—was born in 
Seville about 1630, and studied painting under his 
fellow-citizen, Valdés Leal, and became a tolerable 
artist. His pictures, mostly of the Virgin, with 
architectural backgrounds, were inferior to his 
engravings. The best were two altar-pieces in the 
conventual church of San Pablo. He executed 
prints from various works of Valdés and the 
younger Herrera, and one of ‘St. Dominick,’ from 
a drawing by Alonso Cano; also a ‘St. Ferdinand’ 
by Murillo, for La Torre Farfan’s account of the 
Seville festival in honour of St. Ferdinand; for 
which he likewise engraved views of the Giralda 
tower of Seville, and of the interior and exterior 
of the cathedral. He also executed a series of 
fifty-eight plates for the ‘History of St. Juande 
la Cruz,’ the first barefooted Carmelite. He en- 


very frequently 


graved a neat plate of the arms of the family 
of Arze for a book dedicated to a member of the 
house, in 1695, His works are usually signed with 
his name at full length, or in a contracted form. 
He died at Seville in 1704. 

_ARTEMON, a Greek painter, who is recorded by 
Pliny to have painted a picture of Queen Strato- 
nice, from which it is presumed that he lived about 
B.c. 300. He also painted ‘ Hercules and Deian- 


-ira;’ but his most celebrated works were the 
pictures which were carried to Rome, and placed 


in the Octavian Portico, representing ‘ Hercules 
received amongst the Gods;’ and the ‘ History of 
Laomedon with Apollo and Neptune.’ 

ARTHOIS. See Arrots. 

ARTIGA, Francisco pz, a celebrated Spanish 
landscape and historical painter, was born at 


Huesca, about 1650. He painted several ‘ Sibyls,’ 


‘ Conceptions,’ and perspective views, remarkable 
for their invention, design, and colouring. He was 
also an engraver, an architect, a mathematician, and 
an author of reputation. He died in 1711 at Huesca. 

ARTLETT, Ricuarp AvsTIN, engraver, was born 


'in 1807. He was a pupil of Robert Cooper, and 


afterwards studied under James Thompson. He 


engraved a number of portraits, among which are 


those of Lord Ashburton, after Lawrence, Lord 
Lyndhurst, after Chalon, and Mrs. Gladstone, after 
Say, as well as many plates of sculpture for the 
‘Art Journal,’ one of the latest being ‘ The Siren 
and the drowned Leander,’ in 1873. He died in 
that year. 


- ARTOIS, Jacosus van, (or ARTOYS, or JACQUES 


p’ ARTHOIS,) a very eminent landscape painter, was 


born at Brussels in 1613. He studied under Jan 


Mertens, an otherwise unknown painter, and from 
nature in the forests round his-native city. The 
landscapes of Artois are faithful representations of 
the scenery of his country; the fields and forests 
in the neighbourhood of Brussels were the subjects 
of his pictures, which are touched with a light and 


_freepencil. His skies and distances are extremely 


well represented, and his trees of grand form, with 
a foliage that appears to be in motion. They are 

Posoraicd with admirable figures 
by David Teniers, Zegers, Crayer, and with animals 
by Snyders, which very materially enhance their 
value, although the merit of his landscapes is con- 
siderable. His pictures are in most of the public 
galleries on the Continent. The Brussels Gallery 
has five; the Darmstadt four; the Dresden three; 
the Copenhagen two; the Vienna four; and Madrid 
nine. His works are occasionally seen in England; 
and there are several in French Museums. He died 
after 1684. His brother Niconas, and his son JEAN 
BAPTISTE, were also painters. 

ARTVELT, AnpRIEs VAN, was born at Antwerp 
in 1590. He excelled in painting sea-pieces and 
storms, which he represented with great force 
and effect. He resided for some time at Genoa. 
In 1632 Van Dijck painted a portrait of this artist, 
which is now in the Gallery at Augsburg. Works 
by him are rarely met with. The Belvedere at 
Vienna has a large sea-piece. Artvelt died in 1652. 

ARUNDALE, Francis, an architectural draughts- 
man, was born in Londonin 1807. Hestudied under 
Augustus Pugin, and accompanied him to Normandy, 
making drawings for a description which Pugin 
published of the tour. In 1831 Arundale visited 
Egypt with Mr. Hay, and in 1833 he joined Mr. 
Catherwood and Mr. Bonomi on their tour to the 
Holy Land, filling many portfolios with drawings 


PAINTERS AND ENGRAVERS. 


of the interesting monuments and ruins of Pales- 
tine. He subsequently visited France and Italy, 
and spent several winters in Rome. He made 
drawings of objects of interest in the cities of 
Italy, in Greece, Sicily, and Asia Minor, He died 
at Brighton in 1853, Arundale executed a few oil- 
paintings from his Eastern sketches. Of his pub- 
lished works of his own drawings we may notice : 


The Edifices of Palladio. 1832. 

Illustrations of Jerusalem and Mount Sinai. 1837. 

The Early History of Egypt (executed in conjunction 
with Mr. Bonomi). 1857. 


ARZERE, SreFrano DALL’. See DAL’ ARZERE, 

ASAM, Cosmas Damian, who was born at 
Benediktbeuern, in Bavaria, in 1686, was the son 
of Hans Georg Asam, a painter. He studied for 
some time in Rome, but subsequently took up his 
residence in Munich, and devoted himself to the 
decoration of the churches of Bavaria and Switzer- 
land. As examples of his art mention may be 
made of his works in Munich, Friedberg, Schleiss- 
heim, Innsbruck, and Ratisbon. In Weltenburg 
he built a chapel, and decorated it with paintings. 
He died in 1742. There are some prints by this 
master from his own designs, among which are: 


A Franciscan Monk kneeling, with the Virgin Mary in 
the clouds, surrounded by angels. 
St. Joseph presenting a book to a bishop. 


He had two sons, both of whom were painters: 
Franz Erasmus, who was born at Munich in 1720, 
and died in the Cistercian monastery of Schénthal 
in Wirtemberg in 1795; and ENGELBRECHT, who 
was a monk in the monastery of Fiirstenfeld near 
Munich. 

ASCANI, PELLEGRINO, was an admirable flower 
painter, of the Modenese school. He flourished 
at Carpi from the middle of the 17th century till 
about 1714. His brother SimonE was also a 
painter. 

ASCANIUS. See WuNeEN. 

ASCH, PirTER JANSZOON VAN, was born at Delft 
in 1603. His talent lay in painting landscapes of 
a small size, and, according to Houbraken, he was 
one of the most admired artists of his time. His 
works are executed in the style of Wijnants and 
the Ruisdaels. Among the best of them are, a 
‘Landscape, with the town of Delft in the 
background,’ painted in 1669, in the Town 
Hall at Delft; a ‘Landscape’ in the Gallery 
at Amsterdam; and one in the gallery 
of Copenhagen. The date of Van Asch’s 
death is not recorded, but he lived to a great ) 


age. 
~ ASCIANO, GIOVANNI D’, a pupil of Barna of 
Siena, is said to have completed the frescoes left 
unfinished by that master at San Gimignano. At 
Asciano, his birthplace, there is a work by Gio- 
vanni, similar in style to the works of Barna. 
This painter flourished about 1380. 

ASCLEPIODORUS, an Athenian painter, who 
flourished about the 112th Olympiad, was a con- 
temporary of Apelles, who admired his works for 
the exact symmetry of their proportions, and caused 
them to be purchased at very large prices. Pliny 
reports that he painted twelve pictures of the Gods 
for Mnason, the tyrant of Elatea, for which he was 
paid five talents (£1180) each. 

ASENSIO, —, a Spanish painter, who lived 
at Saragossa about the end of the 17th century, 
distinguished himself in portraiture. 

ASHER, Louis (Jutius Lupwie), was born at 


Hamburg in 1804. He studied in his native town” 
under Gerdt Hardorf and Leo Lehmann, and in 1821 


went for further instruction to Dresden, and thence 
to Diisseldorf, where he entered the atelier of Cor- 
nelius: there he made the acquaintance of Kaulbach, 
with whom he continued a friendship through life. 
In 1825 he accompanied his master to Munich, and 
was there employed by him on the frescoes of the 
Glyptothek. In 1827 he returned to Hamburg; 
he then, in 1832, went through Berlin to Italy, and 
remained there three years. On his return to Ger- 
many, with the exception of a second visit to Italy 
in 1839, in company with his friend Kaulbach, he 
resided at Munich and at Hamburg, where he died 
in 1878. : 

Asher’s works, which consist of historical pictures, 
genre paintings, and portraits, are found for the most 

part in Hamburg—both in public buildings and 

private collections. 

The following are some of the best examples of 
his art: 

Peasant Family. 1835. 

Resurrection of Christ. 1851. 

King Lear with the dead body of Cordelia, 1854. 

St. Cecilia. . 

Maria l’Ortolana. 

Portrait of Mlle. Jenny Lind. 


ASHFIELD, Epmunp, an English painter in 
crayons, who flourished towards the close of the 
17th century, was a scholar of Michael Wright. 
His portraits were much admired. He was the 
instructor of Lutterel, whose merit in crayon 
painting surpassed that of his master. He died 
about 1700. There are a few portraits by him at 
Burleigh House. | 

ASHFORD, WIt.14M, was born at Birmingham 
about 1746. Early in life he went to Dublin and 
took a situation in the Ordnance Office, which he 
gave up in order to follow landscape painting. 
He was one of the original members, and the first 
president, of the Hibernian Academy, instituted in 
1823. Late in life he retired to Sandymount, near 
Dublin, where he died in 1824. The Fitzwilliam 
Museum at Cambridge possesses some of his best 
landscapes. 

ASNE, Micuet v’, See L’AsNE. 

ASPARI, Domenico, who was born at Milan in 
1745, studied under Valdrighi at Parma, and there 
executed some decorative paintings for the Ducal 
Palace. On his return to Milan, he almost entirely 
gave up painting in order to devote his atten- 
tion to engraving, forming his style from that of 
Piranesi: in this branch of art he was very success- 
ful. His masterpiece of painting is the ‘Madonna 
and Child enthroned, with Saints,’ which he executed 
for the church of Osnago. His portrait, by himself, 
is in the Milan Gallery. He died in 1831. 

Of his engravings we may mention the following: 

The Flight into Egypt; after a picture said to be by 

Correggio. 
The Last Supper ; after Leonardo da Vinci. 


M. Peregrina Amoretti; after Boroni. 
Twenty-three Views of Milan. 


_ ASPER, Hans, a Swiss painter, born at Zurich 
in 1499. He painted portraits with great success, 
and was also esteemed for his drawings of game, 
birds, and flowers, which he imitated with much 
truth to nature. He painted also pictures of battles 
and kindred subjects. Notwithstanding that the 
merit of this artist was such as to be thought de- 
serving of a medal being struck to record it, he 


at and died in poverty. He was town-painter ; 


She ‘ nt 


but, unfortunately, most of the wo 
executed in that capacity on public buildin 
been destroyed by being painted over, or 
pulling down of the houses. He died at 
in 1571. Numerous portraits, ascribed to As 
are in the Town Library and other collection 
Zurich. One of his best works is a portrai 
Regula Gwalter, a daughter of Zwingli, and 
little daughter of seven years old, in the T 
Library, which also possesses Zwingli’s portrait, — 
by the same painter. It is difficult, ie 4 
however, to distinguish Asper’s pic- Ba en 
tures from those of other artists of mal LAG 
the same school. Baia. 
ASPERTINI, Amico, the younger brother y 
Guido Aspertini, was born at Bologna about 1475. — 
He studied under Ercole Roberti Grandi and — 
Lorenzo Costa, but he appears to have acquired — 
the greatest part of his art education by visiting — 
various cities in Italy. From 1506 till 1510 he 
was engaged on his masterpiece, the paintings — 
of the ‘History of the Crucifixion,’ which have — 
been recently restored, in the chapel of Sant’ 
Agostino in San Frediano, at Lucca. He al 
executed works of merit in many of the churches 
and houses of Bologna; with Cotignola, Bagna- 
cavallo, and Innocenzo da Imola he decorated the — 
chapel ‘della Pace’ in San Petronio, but the 
work has since been destroyed; with Francia and 
Costa he painted in Santa Cecilia the still existing 
frescoes of the history of that saint. The Pinaco- 
teca at Bologna has a ‘ Madonna and Child with 
Saints,’ by him, and the Berlin Gallery an ‘ Adora- 
tion of the Shepherds,’ signed AMICUS BONONIENSIS 
FACIEBAT. Aspertini died at Bologna in 1552. 
He was also a sculptor. According to Vasari, — 
he was called ‘Amico da due Pennelli,’ from his 
being able to paint with both hands at the same — 
time. He was of a most capricious and whim- — 
sical disposition, approaching sometimes to mental — 
derangement. si 
ASPERTINI, Gurpo, was born at Bologna 
about the year 1460. He was the scholar of ~ 
Ercole Grandi, and proved a very reputable 
painter of history. His principal work, which he 
finished in 1491, was the ‘Crucifixion,’ under the _ 
portico of the cathedral at Bologna. Ithassince 
perished. He died in the prime of life when 35 
years of age. In the Pinacoteca at Bologna is 
an ‘ Adoration of the Kings,’ by him. | 


7 


» 


ASPRUCK, Franz, a goldsmith, designer, and 
engraver, of a Brussels family, flourished in Augs- 
burg from about 1598 to 1603. From the resem- 
blance of his drawing to that of R. Spranger, it 
is probable he may have been his scholar, ‘There 
are a few prints by him with the initials of his __ 
name, /’. A.; thirteen plates—full-length figures  _ 
—‘ Christ and the Apostles,’ after Agostino Car- __ 
racci, and ‘Cupid and Anteros,’ a small plate, 
after Joseph Heintz. a 

ASSCHE, Henri vAN, born at Brussels in 1774, 
showed from his earliest years a predilection for 
painting, and received from his father, who was 
a distinguished amateur artist, the first principles 
of design and perspective. He was afterwards 
placed with Deroy of Brussels, from whom he re- 
ceived further instructions in painting. Journeys 
in Switzerland and Italy contributed to develop 
his talent as a landscape painter. His great 
partiality for representing waterfalls, mountain | 
streams, and mills gained for him the name of 
‘The Painter of Waterfalls.’ Several pictures by 


i 
bo ee 
i . 


f - Amsterdam, Museum. 


| ar) may be seen in public and private collections 


£ Brussels, Ghent, Lille, and Haarlem, some of 
which are enriched with figures and animals by 


Ommeganck. He died at Brussels in 1841. 
_ -ASSCHOONEBECK, Apriaan. This artist was 


a native of Holland, and flourished about the year 


1690. We have by him some slight incorrect 


etchin 


, representing the ‘ Flight of James the 
Secon 


from England.’ 


; _ ASSELIJN, Jan, (or ASSELIN,) a celebrated land- 


scape painter, was born at Diepen, near Amsterdam, 
in 1610. He was ascholar of Esajas van de Velde, 


z but he went to Italy when young, where he re- 
_ mained many years. 


He was denominated ‘ Krab- 
betje,’ on account of a contraction in his fingers. 


_ Hedied at Amsterdamin1660. His pictures repre- 
| sent views in the vicinity of Rome, decorated with 


figures and cattle, in the manner of N. Berchem, 
and enriched with vestiges of Roman architecture. 
His skies and distances are tenderly coloured, and 
there is a charming effect of sunshine in some of 
his works that resembles the warmth of Jan Both. 
His pencil is remarkably firm and neat, and the 
trees and plants are touched with great sharpness 
and spirit. His pictures are highly esteemed, 


and are worthy of a place in the choicest 


collections. They are seen in many of the ! 
public galleries on the Continent. 


The watchfulness of Jan de Witt 
(an enraged Swan—an allegory). 


+. Italian landscape. 
Berlin. Gallery. Italian sea-port. 

Cassel. Gallery. Landscape. 
Copenhagen.Gallery. Italian landscape; and others. 
Darmstadt. Gallery. A rocky shore. 

Florence. Uffizi. Landscape. 
Paris. Louvre. Italian views (two). 
Petersburg. Hermitage. View in lialy. 
o ue Sea-port. 
Vienna. ‘Gallery. Landscape. . 


»  Létechtenstein Coll. Italian sea-port (almost a replica 

of the Berlin picture). 

ASSELT, Van DER. See VAN DER ASSELT. 

ASSEN, JAN vAN, who was born at Amsterdam 
in 1635, was a good painter of history, portraits, 
and landscape, in the Italian manner ; he studied 
perce sly the works of Tempesta. He died at 

is birthplace in 1695. 

ASSEN, JoHANN WALTER VAN, is a name which 
has been given, rightly or wrongly, to the artist 
who used the accompanying mono- 
gram, which is found on several R 
paintings as well as on some wood- R ba 
cuts. See CorNELISz, JACOB. 

ASSERETO, GiovaccHino, (or AXARETO,) who 
was born at Genoa, studied under Borzone and 
Ansaldo, by whose instructions he profited so well, 
that at the age of sixteen he painted a picture of 
the ‘Temptation of St. Anthony,’ for the oratory 
of Sant’ Antonio Abate in Sarzano. He painted 
much in the churches and palaces of Genoa, and 
there are still pictures by him in several churches 
and religious houses in that city. He painted 
from 1600 to 1649. 

ASSERETO, GrusErre, son and scholar of Gio- 
vacchino Assereto, painted historical subjects in 
the style of his father. He died after 1650, when 
still young. 

ASSISI, AnprEA DA. See ALovial. 

ASSISI, Trperio DA, was a scholar and imitator 
of Perugino. His works, which are not of great 
merit, may be seen in the churches of Perugia and 
the neighbourhood. A fresco is at San Martino, 


PAINTERS AND ENGRAVERS. 


outside Trevi; a lunette containing a ‘ Virgin and 
Child,’ with a ‘ Madonna between two Saints,’ dated 
1510, and five scenes from the life of St. Francis, 
dated 1512, are still at Montefalco. 

AST, B. vAN DER. See VAN DER AST. 

ASTA, ANDREA DELL’. See DeLu’ Asta. 

ASTLEY, Jonn, an English portrait painter, 
was born at Wem, in Shropshire, about 1730. 
He was a scholar of Hudson, and afterwards 
visited Italy, about the same time that Sir Joshua 
Reynolds was at Rome. He possessed talents of 
a superior order, and painted portraits with great 
reputation and success. A lady of large fortune, 
Lady Daniell, whose portrait he had painted, con- 
ceived an affection for him, and offered him her 
hand: on his marriage he relinquished the profes- 
sion. He died in 1787. (For further details of 
his somewhat romantic life see Redgrave’s Dic- 
tionary.) 

ASTOR, Dizeco pz, of Toledo, studied under 
Domenico Theotocopuli, and in 1606 engraved, 
under his superintendence, a ‘St. Francis,’ after 
Nic. de Vargas. Astor was engraver to the Mint 
of Segovia, and was also employed to engrave the 
royal seals. Of his plates we may notice the title- 
page to Colmenares’ ‘ Historia de Segovia’ (Ma- 
drid, 1640), and that to Bonet’s book on ‘Speech 
for the Dumb,’ one of the best works of the kind. 

ATHENION was a native of Maroneia, in 
Thrace, and was a disciple of Glaucion of Corinth, 
a painter of whom no other mention is made. 
Athenion appears to have been a contemporary of 
Nicias, as his works are compared by Pliny to 
those of that painter, and without any disparity, 
for he adds, ‘‘ If he had lived to maturity, no one 
would have been worthy to be compared to him.” 
Though his colouring was more austere than that 
of Nicias it was not less agreeable. He painted 
for the temple of Eleusis a picture said to have 
been a portrait of Phylarchus the historian; and 
at Athens, ‘ Achilles disguised as a girl, discovered 
by Ulysses.’ 

ATKINSON, Joun Avaustus, who was born in 
London in 1775, went, when quite young, with 
his uncle to St. Petersburg, where he studied in 
the picture galleries. In 1801 he returned to 
England, and in 1803 published ‘A Picturesque 
Representation of the Manners, Customs, and 
Amusements of the Russians,’ in 100 plates, 
drawn and etched by himself. He afterwards 
painted a ‘Battle of Waterloo,’ which was en- 
graved by John Burnet. He also painted in 
water-colours. His last contribution to the Aca- 
demy exhibition was in 1829. The date of his 
death is not recorded: he was still living in 1831. 

ATKINSON, Tuomas Wiriam, who was born 
of humble parents about 1799, began life as an 
ecclesiastical stone-carver. In 1831 he published 
his ‘Gothic Ornament,’ and afterwards settled in 
Manchester as an architect. In 1840 he went to 
London, then through Hamburg and Berlin to St. 
Petersburg, where he obtained permission to travel 
in the more unfrequented parts of the Russian 
Empire in Asia. He made many drawings and 
sketches, and on his return to England published 
the following works, illustrated by his hand: 

Oriental and Western Siberia. 1858. 

Travels in the Region of the Upper and Lower Amoor. 

1860 


Recollections of the Tartar Steppes and their Inhabit- 
ants. 1863. 


Atkinson died at Little Walmer in 1861. Ae 


ATTAVANTE (or VANtTE), a friend of Gherardo, 
and an imitator of Bartolommeo della Gatta, was 
employed by Matthias Corvinus, King of Hungary, 
for whom he executed a missal, now in the Royal 
Library at Brussels. There is another breviary 
by him in the National Library at Paris, executed 
in the manner of the Ghirlandaj. Other missals 
in Florence and Rome are also ascribed to him. 
Attavante, who was a miniature painter of great 
merit, worked at Florence towards the close of the 
15th century. 

ATTIRET, JEAN DENIS, who was born at Dole 
in 1702, studied art first under his father, an un- 
known painter ; and then improved his style by a 
visit to Rome. On his return he painted portraits 
at Lyons and at Déle. When little more than 30 
years of age he entered the order of Jesuits, and 
during his noviciate painted four works for the 
cathedral of Avignon. In 1737 Attiret went to 
China, rose to high honour at court, and was ap- 
pointed painter to the Emperor. He painted 
numerous portraits, pictures for churches, battle- 
scenes, landscapes, and fruit and flower pieces. 
Works by him are in the Royal Palace at Pekin, 
where he died in 1768. 

AUBERT, Avaustin RaymMonD, who was born 
at Marseilles in 1781, studied at first under 
Guenin, and subsequently with Peyron, in Paris, 
to which city he went in 1802. He soon, how- 
ever, returned to his native town, and in 1810 was 
made Director of the School of Design, and in that 
capacity directed the studies of numerous pupils 
who afterwards became celebrated. He painted 
history, landscape, and portrait subjects with 
much success. The museum and churches of his 
native town possess several good examples of his 
art. Some of his chief pictures, taken from sacred 
history, are of large dimensions. He died on his 
estate, near Marseilles, in 1847. 

AUBERT, Jzan, a French engraver, flourished 
in Paris from about 1720 to 1741, in which year he 
died. His prints are little more than slight etch- 
ings, and without much effect. He engraved the 
Portrait of Gillot; some Academy figures, after 

~Edmé Bouchardon; and a ‘ Drawing-book,’ from 
Raphael and other masters, after drawings by 
Bouchardon. He was also an architect. 

AUBERT, Micuezt. This artist was born in 
Paris about 1704. He engraved portraits and his- 
torical subjects. His manner is slight and free, 
and in some of his historical prints he appears to 
have imitated the style of Gérard Audran, but not 
with very great success. He died in Paris in 
1757. His plates are: 


PORTRAITS, 


Elizabeth, Queen of England; 4to. 

Charles Emmanuel, Duke of Savoy; after Van Dyck. 

Victor Amadeus, King of Sardinia; after Ferrand. 

James I., King of England. 

Philip of France, Duke of Orleans ; after Nocret. 

Marquise de Montespan. ; 

Louis XV. on horseback; after Le Sueur. 

Louis, Dauphin of France, on horseback ; after the same. 

Two portraits—The Dauphin and the Dauphiness ; after 
La Tour. 

Portrait of Charles Stuart, oval; after the same. 

Sixty-two portraits for D’ Argenville’s Abrégé de la 
Vie des plus fameux Peintres. 


SUBJECTS AFTER DIFFERENT MASTERS, 


The Circumcision ; after Ciro Ferri. 
St. ea ; after Guido; arched. 


A BIOGRAPHICAL DICTIONARY OF 


Be : 
ur ee 


very. 0 
pr. 
a* | 
its 

v 


We ci: 
Pan instructed by Cupid, half-length figur 
Annibale Carracei. oe Me 
St. George kneeling before the Virgin Mary an 
after Parmigiano. Di a 
Mars and Venus, bound by Love; after Paolo 
nese, for the Crozat Collection. ; Mea | &: 
Mars disarmed by Venus; after the same, for the same 
Vanity, an allegorical subject ; after Bouchardon, — 
Venus reposing with Cupid; after Boucher. | 
The Death of Adonis; after the same. 
Laban seeking for his Gods; after Jeaurat. iat Ae 
The Reconciliation of Jacob and Esau ; pe the sam 
The Promenade on the Ramparts; after Watteau. _ 
The Rendezvous de Chasse; after the same. — 


AUBERT, Pierre Eveéne, a French engraver 
and pupil of Scheuder, was born in Paris in 1789 
and died there in 1847. His best work is a 
‘View at Samboanga in the island of Mindanao,’ — 
after E. Goupil; he also engraved ‘Ulysses and — 
Nausicaa,’ after the picture by Rubens in the 
Aguado Gallery. | ee 

AUBERTIN, Frangois, who was born at Metz 
in 1773, began life as a soldier, but subsequently 
became an engraver in aquatint, in which pro- 
cess he made certain technical improvements, He > 
worked at Dresden, Berlin, Paris, and at Ghent, — 
where he died by suicide in 1821. Aubertin 
engraved plates after Berchem, Paul Potter, C, 
Vanloo, Dietrich, and others. ; 

AUBIN, Avaeustin pE SAINT. 
AUBIN. 

AUBRIER, —, was a French engraver of the 
18th century (?) by whom we have a portrait of - 
Cesare Borgia, Duke of Valentinois. ae 

AUBRIET, CLAaupE, who was born at Chalons- __ 
sur-Marne about 1665, studied under Jean Joubert, 
and became famous for his drawings of plants. — 
In 1700 he accompanied the botanist Tournefort — 
to the Levant, and on his return was made, by 
Louis XIV., painter at the Jardin du Roi. He 
died in Paris in 1742. The national libraries of © 
Paris and Géttingen possess botanical drawings 
by his hand. i 

AUBRY, ABRAHAM, was a native of Oppenheim, — 
and flourished about the year 1650. He studied 
under his elder brother Peter, and assisted himin 
his publications in Strasburg. He also carried on 
a considerable business as a printseller. He resided 
at Strasburg, Nuremberg, Frankfort - on - Main, 
and Cologne, and, Fiissli tells us, was still living in __ 
1682. He engraved, besides other prints,eleven of __ 
the twelve plates representing the ‘ Twelve Months 
of the Year’ (1653), after Sandrart; the month 
of May was engraved by F. Brun. . 

AUBRY, ETIENNE, who was born at Versailles 
in 1745, studied under J. A. Silvestre and Joseph 
Vien, and soon became noted for his portraits and 
genre subjects. He exhibited several works of 
great merit at the Salon; but his life was cut — 
short in its prime in 1781, in which year he had 
exhibited the ‘Parting of Coriolanus from his 
Wife.’ a 

AUBRY, JOHANN PHILIPP, an engraver and 
printseller, who resided at Frankfort about the — 
year 1670, and was a relative of Peter and Abra- 
ham Aubry. He engraved a great number of 
plates for the booksellers, as well as for his own 
collection. They chiefly consist of portraits, and’ 
are executed in a very indifferent style. 

AUBRY, Lovis Francois, who was born in 
Paris in 1770, studied under Vincent and Isabey, — 
and became celebrated as a portrait painter. 
He exhibited at the Salon of 1810 portraits of 


Ton ee 
«a 


See Sarnt- 


the King and Queen of Westphalia, which were 
_ praised for their colouring. He died about 1850, 
AUBRY, Perer. According to Huber, this 
artist was born at Oppenheim, about the year 1596. 
_ He was the elder brother of Abraham Aubry, and 
was also established at Strasburg as a printseller. 
He is said to have died there in 1666, but a print 
bearing date 1668 has his name as publisher. He 
engraved a great number of portraits of eminent 
ersons of different countries, a long list of which 
is given by Heineken. They are executed with 
the graver in a very indifferent style. Among 
others are the following: 
Oliver Cromwell. 
Ferdinand Ernest, Count of Wallenstein. 
Johannes Schmidt, D.D.,*Professor of Theology at 
Strasburg. 
Michael Virdung, Professor at Altdorf. 


| AUBRY-LECOMTE, Hyacinrue Louis Vicror- 
| JEAN BaPTIsTE, draughtsman on stone, was born 
at Nice in 1797. He studied under Girodet-Trio- 
son, and became a draughtsman of great merit, 
and did much for the improvement of the art. He 
died in Paris in 1858. Many of Aubry-Lecomte’s 
engravings are from works by his instructor: he 
| also engraved after Prud’hon, Gérard, Dejuinne, 
Vernet, Greuze, and other French painters. He 
executed a lithograph of the ‘Madonna di San 
_ Sisto,’ from the copy of Raphael’s picture which 
isin Rouen. The subjects of his works are various 
—historical, both sacred and secular, allegorical, 
- portraits, and of a genre character. 
AUBUISSON, Jutren Honort GERMAIN, Mar- 
quis d’, who was born in 1786, painted and exhi- 
bited, from 1812 to 1822, in the Paris Salon, several 
poetical and historical pictures; namely, ‘ Paris 
taking leave of Helen,’ ‘ Hector forcing Paris to 
quit Helen,’ ‘Alexander and Bucephalus,’ and the 

‘Punishment of Hebe.’ 

| AUDEBERT, JEan Bartistz, a French painter 

: ~ and etcher, was born at Rochefort in 1759. He 

; engraved the plates of the ‘ Histoire Naturelle des 

.  Singes,’ published in 1800, and the ‘ Histoire des 

-_ Colibris,’ published in 1803. He particularly ex- 
celled in drawing and engraving animals, and 
other objects of natural history. He died in Paris 
in 1800. 

AUDEN-AERD, Roszerr vAN, (or OUDEN-AERD,) 
was a reputable painter, and a still more cele- 
brated engraver. He was born at Ghent in 1663, 
and was first a scholar of Francis van Mierhop, 
but he afterwards studied under Hans van Cleef. 
When he was twenty-two years of age he went to 
Rome, where he became a disciple of Carlo Maratta. 
Under this master he became a good painter of 
historical subjects. He amused himself with the 
point in his leisure moments, and some of his 
plates were shown to Carlo Maratta, who recom- 
mended him to devote himself entirely to the art 
of engraving. He, however, painted several pic- 
tures for the churches of his native city, to which 
he returned after an absence, it is said, of thirty- 
seven years. He died at Ghent in 1743. His 
best work is the altar-piece of the high altar in 
the church of the Carthusians at Ghent, represent- 
ing ‘St. Peter appearing to a group of Monks of 
that order.’ In the church of St. James is a 
picture by him of ‘St. Catharine refusing to worship 
the False Gods.’ Several other works by this 
master are in the churches and convents of his 
native city, all of which are painted in the style 
of C. Maratta. 


«PAINTERS AND ENGRAVERS. 


The plates which he executed entirely with the 
» graver are not considered equal to those in which 
he introduced the point. His drawing shows a 
perfect acquaintance with the human figure, and 
is very correct. The principal part of his prints 


are after the pictures of Carlo 
Maratta. The following is a RE VA 
list of the more important: p > 


PORTRAITS. 


The Cardinal Sacripante; after G. B. Gauilli. 1695. 

The Cardinal Taurusi; after the same. 

The Cardinal Ottoboni; after the same. 

The Cardinal F. Barberini; after C. Maratta. 

The Cardinal Henri de la Grange d’Arquien; after F. 
Desportes. 1695. - 

The Cardinal Giuseppe Archinto ; after G. Passeri. 

The Cardinal Andrea di Santa Croce ; after the same. 

The Father Francesco Caraccioli; after A. Procaccini. 


SUBJECTS AFTER CARLO MARATTI. 


Hagar and Ishmael in the desert ; etching. 

The Sacrifice of Abraham; etching. 

Rebekah and the servant of Abraham ; etching. 

David with the head of Goliath ; etching. 

Bathsheba in the bath. 

The Annunciation. 

The Adoration of the Magi; etching. 

The Flight into Egypt ; same. 

The Repose in Egypt ; octagon. 

Our Saviour on the Mount of Olives. 

The Crucifixion. 

The dead Saviour in the lap of the Virgin, with the 
Marys and St. John. 

The Death of the Virgin. 

The Assumption of the Virgin. 

The Virgin Mary with the Infant Jesus distributing 
chaplets to nuns. 

Mary Magdalene penitent. 

The Martyrdom of St. Blaise. 

St. Anthony of Padua kissing the Infant Jesus. 

St. Philip Neri. 

Janus, first King of Italy, received amongst the Gods. 

Romulus and Remus. 

Apollo and Daphne, in two sheets. 

The Pope Innocent XII. on his throne, at his feet Heresy 
subdued, and the Four Quarters of the World pros- 
trate. 


SUBJECTS AFTER DIFFERENT ITALIAN MASTERS. 


The Triumph of Julius Cesar, a series of ten plates ; 
after A. Mantegna. 

The Nativity ; after Pietro da Cortona. 

Five etchings—Of the life and death of St. Bibiana ; 
three after Pietro da Cortona, and two after Bernini. 

Hippomenes and Atalanta, a group; after Bernini. 

The Rape of a Sabine woman; after Giovanni da 
Bologna. 

St. Facundo; after Giae. Brand. 

The Birth of the Virgin; after Ann. Carracet. 

The Scourging of St. Andrew; after Domenichino. 

St. Andrew led to crucifixion; after the same. 

St. Andrew transported to Heaven ; after the same. 

St. Luke painting the portrait of the Virgin; after 
Mare Antonio Franceschini. 

The Wrath of Achilles; after G. B. Gauilli ; in three 


sheets. 


AUDINET, Puuuir, of a French family which 
came to this country at the revocation of the 
Edict of Nantes, was born in Soho, Lendon, in 1766. 
He was apprenticed to John Hall, and was first 
employed to engrave the portraits in Harrison’s 
‘Biographical Magazine,’ &c. Among his larger 
works are portraits of Sir Benjamin Hobhouse and 
Sir William Domville, and an excellent engraving 
of Barry’s unfinished portrait of Dr. Johnson. He 
died in London in 1837. 

AUDOUIN, Pierre, an eminent French en- 
graver, and pupil of Beauvarlet, was born in Paris 
in 1768, and died there in 1822. He sath ae 


Ti eaaye waeire 
ry * ; aks 


- the ‘Musée cho A published by Laurent, several | 


-_of the finest works of the Italian and Dutch masters. 
The following are fine specimens of his talent : 


Jupiter and Antiope ; vibes Correggto. 
La belle Jardiniére ; after Raphael. 
The two portraits called Raphael and his Fencing- 

master ; ascribed to Raphael. 
The Entombment of Christ ; after Caravaggio. 
Charity ; after Andrea del Sarto. 
Melpomene, Erato, and Polyhymnia ; after Le Sueur. 

- Two subjects, after Terborch; one after Mieris ; and 

one after Netscher. 

Marie Thérése Charlotte, Duchess of Angouléme; after 
Dermont. 

Madame Le Brun ; after herse/f. 

Louis XVIII. in his coronation robes ; after Le Gros. 


AUDRAN FamiIty. THE, 
Sharleen: Claude I. 
(1594—1674) (1597—1677) 
os 
Germain Claude IT. Gérard 
(1631—1710) (1639—1684) (1640—1703) 
—_+— 
Benoit I e 


Claude IIT. it I. Jean Louis 
(1658—1734) (1661—1721) (1667—1756) (1670—1712) 
Benoit IT. 
(1698—1772) 

AUDRAN, Benoit, ‘the elder,’ the second son 
of Germain Audran, was born at Lyons in 1661. 
He received his first instruction in the art of en- 
graving from his father ; but had afterwards the 
advantage of studying under his uncle, the cele- 
brated Gérard Audran. Although he never equalled 
the admirable style of his uncle, he engraved many 
plates of historical subjects and portraits, which 
have justly established his reputation. His style, 
like that of Gérard, is bold and clear; his draw- 
ing of the figure is very correct; and there is a 
fine expression of character in his heads. He 
was received into the Academy in 1709, and was 
appointed engraver to the king, with a pension. 
He died in 1721, in the village of Ouzouer, near 
Sens. His portrait, after J. Vivien, has been en- 
graved by his nephew Benoit, the younger. The 
following are his principal plates: 


, PORTRAITS. 


Charles le Goux de la Berchére, Archbishop of Nar- 
bonne ; after L. de Boulogne. 

Jean Baptiste Colbert; after CO. Lefebvre ; oval. 

Joseph Clement of Bavaria, Elector- Archbishop of 
Cologne ; after J. Vivien. 

Henri de Beringhen; after Nantewil. 1710. 

sae Frisching, General of the Swiss; after J. Huber. 

J. F. A. Willading ; after J. Huber. 1718. 

Equestrian Statue of Louis XIV.; after Desjardins ; 
by B. and J, Audran. 


SUBJECTS AFTER VARIOUS MASTERS. 


The Baptism of Jesus Christ ; after Albani. 

David with the Head of Goliath; after a picture in the 
Louvre, formerly attributed to Michelangelo, but now 
ascribed to Daniele da Volterra ; two plates, engraved 
in 1716 and 1717. 

ets defending the Daughters of Jethro; after Le 

run. 

The Espousals of Moses and Zipporah; after the same. 

The Elevation of the Cross; after the same. 1706. 

The Descent from the Cross; after the same. 

An allegorical subject—Holland accepting Peace ; after 
the same. 

Zephyrus and Flora; after Ant. Coypel. 

The Pleasures of the Garden ; two friezes ; after Mig- 
Hy ; engraved by Benoit and Jean Audran. 

0 


~ oi ae} hes Sosa an Le ae de ee 
_ The Saviour with Martha and M 


following are his principal prints : 


‘St. Paul preaching at Ephesus ; ‘after 
Alexander drinking the Cup which his" 
sents him; after the same. ks oa 
The Accouchement of Marie de Médicis ; a 
The Exchange of the Two Queens; after ¢. 
[The two last form part of the Luxembours bei 
Several other prints by this artist are sp 
in the ‘ Dictionnaire des Artistes,’ by Hein 
and in Meyer’s ‘ Allgemeines Kiinstler-L 
upwards of two hundred are enumerated. 
AUDRAN, Bznoir, called ‘the younger,’ to d 
tinguish him from his uncle, was born in Paris 
1698, and died there in 1772. He was the 
and pupil of Jean Audran, and engraved in 
same manner as his father. He engraved p 
after Paolo Veronese, Poussin, Natoire, Lan 
Watteau, and other French artists. jj 

AUDRAN, Cuaries. This artist was the firs 
of the Audran family who became eminent in the 
art of engraving. He was born in Paris in 159- 
In his boyhood he showed a great disposition fo: 
the art; he received some instruction in drawi 
and when still young went to Rome to perf 
himself: there he produced some plates that we 
admired. He adopted that species of engravin 
that is entirely performed with the graver, a 
appears to have formed his style by an imitati 
of the works of Cornelis Bloemaert. On his return 
to France he lived for some time in Lyons, bu 
finally settled in Paris, where he died in 1674 
aged 80. He marked his prints, which are ver 
numerous, in the early part of his life witha C. 
until his brother Claude, who also engraved a few 
plates, marked them with the same letter; hethen — 
changed it for X., as the initial of Karl. Th 


PORTRAITS. ts 


Henri of Condé, with the Four Cardinal Virtues; K. 
Audran, sc.; oval. a. age 
André Laurent, physician to Henry IV.; oval. 

Pierre Séguier ; oval, with ornaments; after Chauveau. 
An allegorical subject, of two Portraits, witha Genius 
painting a third Portrait ; inscribed on the pallet, 
unus ex duobus; signed C. Audran, fecit. 


SUBJECTS AFTER DIFFERENT MASTERS. 


The title for the Gallery of the Great Women, repre- 
senting Anne of Austria and nineteen other eminent 
women, with a subject from their life in the back- 
ground; after Pietro da Cortona. * 

The Annunciation ; inscribed Spiritus Sanctus, §&c. 3 
after Lodovico Carracct, incorrectly attributed on the 
plate to Annibale ; very fine; it is the picture in the 
Cathedral at Bologna. be 

The Baptism of Christ; small oval; after Ann. Cars — 
racct ; no name. ‘ 

St. Francis de Paula; after Mellin ; marked Carl. A 
dran, s¢. 

The Stoning of Stephen ; after Palma ‘ the younger? 

The Conception of the Virgin Mary ; after Stella. — 

The Nativity ; after the same. 

The Holy Family, with St. Catharine and Angels; after 
the same ; fine. é aa 

The Virgin and Infant Jesus, St. John presenting an 
Apple, and St. Catharine kneeling; after Titian ; 
very fine. 

The Virgin Mary and Infant Jesus treading on the 
Serpent ; after G. L. Valesio. 

A Thesis, representing Religion as the true Knowledge; _ 
inscribed Non judicamus, &c.; after C. Vignon. Bt, 

St. Francis de Paula in ecstasy before the Sacrament; 
after S. Vouet. me 

Frontispiece for a Book, Fame holding the Portrait 
of Cardinal Mazarin ; after the same. a 

The Assumption of the Virgin: after Domenichino; — 
very fine. 


| facility of eexcution. 


ar j so ie A ase f y 
oar Mu Ate bo ee § 

i cain hee , 
re 


3 of his works. 

_ AUDRAN, Craupse, ‘the eldest,’ the brother (or, 
_ a8 some say, the cousin) of Charles, was born in 
_ Paris in 1597. ‘After receiving some instruction 


- uncertain. His engravings, which are signed 
_ either Claude Audran, or Cl. Audran, are executed 
‘i r the manner of Cornelis Cort and F. Villa- 
mena. They are chiefly portraits and allegories. 
_ He left three sons, Germain, Claude the younger, 
- and Gérard. 
_  AUDRAN, Craupe, ‘the younger,’ the second son 
| of Claude I., was born at Lyons in 1639. He studied 
_ drawing with his uncle Charles in Paris, and sub- 
_ sequently went to Rome. On his return he was 
- engaged by Le Brun at Paris, and assisted him in 
_ his pictures of the ‘ Passage of the Granicus,’ the 
| ‘Battle of Arbela,’ and in many other of his works; 
' and was an imitator of his style. He painted also 
- in fresco, under the direction of Le Brun, the 
chapel of Colbert’s Chateau at Sceaux, the gallery 
_ Of the Tuileries, the grand staircase at Versailles, 
~ and other works. He drew well, and had great 
| fa He died in Paris in 1684. 

_  AUDRAN, Ctaupe, called ‘the third,’ to dis- 
_ tinguish him from his grandfather and his uncle, 
~~ -was born at Lyons in 1658. He was the eldest 
_ son of Germain Audran, from whom he received 
_ instruction in art; he studied also under his uncles, 
_ Claude II. and Gérard. He was appointed cabinet 

painter to the king; and also held for twenty-nine 

years the sinecure office of keeper of the Luxem- 
_bourg Palace, where he died in 1734. He painted 
in oil and frescoes in several of the royal resid- 


executed for tapestry for the king, were engraved 
by his brother Jean. Claude Audran was instructor 
to the celebrated painter Watteau. 
. AUDRAN, G#rarp, the third son of Claude L., 
~-was born at Lyonsin 1640. After learning the first 
principles of design and engraving from his father 
and from his uncle Charles, he was sent to Paris, 
_ and received instructions from Le Brun, who gave 
him some of his pictures to engrave. He after- 
wards, in 1667, visited Rome for improvement, 
and he is said to have studied under Carlo Maratti. 
During a residence there of three years, he executed 
some plates which gained him great reputation, 
particularly a portrait of Pope Clement IX. The 
fame of Gérard Audran induced Louis XIV. to 
invite him to return to Paris; and soon after his 
arrival he was appointed engraver to the king, 
with a considerable pension, and apartments in the 
Gobelins. He now applied himself with great as- 
siduity, and renewed the connection with the cele- 
brated painter Charles Le Brun, whose principal 
works are the subjects of some of his finest plates. 
‘The Battles of Alexander’ will ever be regarded 
as a lasting monument of their fame. About the 
year 1675, he apparently paid a second visit to 
Rome, for his ‘ Four Cardinal Virtues,’ after the 
icture by Domenichino, in St. Carlo a’ Catinari, at 
ome, are signed, ‘G. Audran sculp. Romae, 1675.’ 
He died at Paris in 1703, aged 63. The name of 
this distinguished engraver is familiar to every 
admirer of the art, which he may be said to 
have carried to the highest pitch of perfection, 
particularly in his large plates of historical sub- 
jects. The following is a list of his principal 
works: they are signed variously G. A. /.: G. Au. 


ences of France. The ‘ T'welve Months,’ which he, 


es | 


eet RS PAINTERS AND ENGRAVERS. 
| In Dr. Meyer's ‘ Kiinstler-Lexikon’ is a list of J.: Gur. Audran: Ge Audran: and Gerardus 


Audran. 


PORTRAITS AND SUBJECTS FROM HIS OWN DESIGNS. 


Pope Clement IX., of the family of Rospigliosi. 

Andrea Argoli of Padua, 

Samuel Sorbiere ; engraved at Rome in 1667. 

Henri Arnauld, Bishop of Angers. 

Benoit Langlois, Capuchin. 

Francois du Quesnoy, called Fiamingo, sculptor. 

St. Paul preaching at Athens, vignette; inscribed Non 
enim, &c. 

‘Wisdom and Abundance, above two Genii with a Ban- 
ner ; inscribed Louis le Grand. Frontispiece, 1680. 


SUBJECTS FROM VARIOUS ITALIAN MASTERS. 


/Eneas saving his father Anchises ; after Domenichino. 

The Mystery of the Rosary ; after the same. 

The Martyrdom of St. Agnes; after the same. 

The Temptation of St. Jerome ; after the same. 

The Four Cardinal Virtues, from the paintings in the 
church of St. Carlo a’ Catinari, at Rome, representing 
Justice, Temperance, Prudence, and Fortitude; after 
the same. 1675. 

Two friezes, St. Paul preaching, and the Descent of the 
Holy Ghost, on one plate; after Pietro da Cortona. 
Sixteen prints—Of the History of Aineas, in the Pam- 

phili Gallery ; after the same. 

Three plates—Of the Triumph of David, in the Sac- 
chetti Palace ; after the same. 

The Death of St. Francis ; after Ann. Carracci. 

The Martyrdom of St. Sebastian; after the same. 

The Temptation of St. Anthony; after the same. 

The Discovery of Achilles disguised; after the same. 

St. Hyacinth ; an etching; after Guercino. 

The Magdalene, half length; after Guido. 

St. Peter walking on the Sea; after Lanfranco. 

The Nativity, a small plate; after a drawing by Palma 
“the younger.’ 

Thirteen Hieroglyphical Figures ; after Raphael, in the 
Vatican. 

Fourteen plates, called Emblems, or Cupid and Psyche ; 
after Raphael ; in a loggia in the Farnese garden; 
dedicated to Charles le Brun. 

Moses and the Burning Bush; after Raphael. 

Paul and Barnabas at Lystra; after the same. 

The Death of Ananias ; after the same. 

The Descent of the Saracens in the Port of Ostia; 
Srom a drawing by Raphael; etching, without his 
name. 

The Clemency of Scipio; after a drawing by Raphael ; 
etching, without his name. 

St. Ignatius beaten by Demons; after a drawing by 
Rubens, and not after Raphael, as expressed on the 
plate ; it is St. Ignatius, and not St. Paul. 

Jesus Christ giving the Keys to St. Peter in presence 
of the Apostles; a fine etching: R#. V. inv., G. Au, 
s¢é.; very scarce. 

Silenus drinking; after Giulio Romano ; etching. 

The Rape of Deianeira; after the same. 

Ganymede; after Titian ; an octagon. 


SUBJECTS FROM VARIOUS FRENCH MASTERS. 


Moses taken out of the River Nile; after NV. Poussin ; 
engraved by Benoit and Jean Audran, and retouched 
by Gérard. 

St. John baptizing the Pharisees in the Jordan; after 
NV. Poussin ; two sheets ; very fine. 

The Woman taken in Adultery ; after the same ; fine. 

St. Frances, a Roman Saint, kneeling before the Virgin 
Mary ; after N. Poussin ; copied from a print by P, 


del Po. 
The Flight of Pyrrhus; after the same ; in two sheets ; 
fine 


Coriolanus appeased by his Family ; after the same. _ 

Furius Camillus delivering up the Schoolmaster to his 
Pupils; large plate; after the same. 

Rinaldo and Armida; after the same, engraved by 
Gérard, assisted by Jean and Benoit Audran. 

Daphne changed into a Laurel; after the same. 

Narcissus ; after the same. 

The Empire of Flora; after the same. 


The Plague at Rome; after the same. 61 


A BIOGRAPHICAL DICTIONARY oF 


Time discovering Truth ; after N. Poussin ; a mnie 

The Plague; after P. Mignard. In the first impres- 
sions of this plate, the figure in the clouds is Juno 
with a Peacock ; in the latter the figure is changed 
to that of the destroying Angel. 

Christ bearing His Cross; after the same. 

Three plates—Of the ceiling of the lesser Gallery at 


king, with a pension and spaleineate at foe °G % 
lins. The hand of a great master is discernible in 4 
all his plates; and without having attained the 
extraordinary perfection of Gérard Audran, his 
claim to excellence is very considerable. He disds “ 
in 1756. His principal prints are: : 


Versailles ; after the same; Apollo and the Muses, 
Prudence and Vigilance. 

Six plates—Of the ceiling of the Val de Grace, repre- 
senting the Felicity of the Blessed. 

The Martyrdom of St. Laurence; after Le Sueur. 

The Martyrdom of St. Gervais ‘and St. Protais; after 
the same 

The Aurora; after the same; inscribed Lucerna pe- 
dibus, 

Time and Truth dispersing the Clouds of Ignorance ; 
after L. Testeliin. 

Pharaoh’s Host destroyed in the Red Sea; after F. 
Verdier. 

Flight into Egypt ; after the same. 

Battle of the Saracens ; after Bourguignon. 

Taking of the Town of Damietta. 

The Judgment of Solomon; after Ant. Coypel. 

The Deluge; after La Fage. . 

The Passage of the Red Sea; after the same. 

The Rape of Proserpine ; after the marble by Girardon. 

Moses and the Burning Bush ; after Chas. le Brun, 

The Descent of the Holy Ghost ; after the same. 

The Stoning of Stephen; after the same. 

Four sheets—Of the triumphal Entry of Constantine 
into Rome; after the same. 

Five sheets— Of the Ceiling of the Chapel of the 
chateau of Sceaux; after the same ; very fine. 

Six sheets—Of the Pavilion of Sceaux, called the 
Pavilion of Aurora; dedicated to Louis XIV.; after 
the same. 

Thirteen large sheets, making together the four prints 
of the Battles, &c. of Alexander ; after le Brun. 1. 
The Passage of the Granicus. 2. The Defeat of 
Darius at Arbela. 3. Porus brought before Alex- 
ander after his Defeat. 4. The triumphal Entry of 
Alexander into Babylon. 

To these are added, The Family of Darius; engraved 
by Gérard Edelinck, and noticed under his name. 

[The best impressions of these superb prints are those 
marked with the name of Goyton, the printer. 


AUDRAN, GeERMAIN, who was born at Lyons 
in 1631, was instructed by his uncle Charles in the 
art of engraving in Paris. He died at Lyons in 
1710. His merit was considerable, although very 
inferior to that of some others of his family. Ger- 
main had four sons, Claude III., Benoit I., Jean, 
and Louis. He engraved several plates, consisting 
of portraits, and a variety of ornaments, ceilings, 
and vases, amongst which-are the following: 


Portraits of Charles Emmanuel II. of Savoy, and his 
wife, in an oval; after F. de la Monce. 

Portrait of Cardinal de Richelieu, in an oval. 

Portrait of Théophile Reynauld. 1663. 

Six sheets of Ceilings ; after George Charmeton. 

Six ornaments of Vases : after N. Robert. 

A book of Friezes ; after La Fage. 

A book of views in Italy ; after Fancus. 

Six Landscapes ; after Gaspar Poussin. 

Thirty-one designs—Of Fountains, Friezes, &c.; after 
Le Brun. 


His plates are signed with his surname, and 
with his Christian name, in the following forms: 
G: Ger: Germ: and in full. 

AUDRAN, JEAN, the brother of Benoit, and the 
third son of Germain Audran, was born at Lyons 
in 1667; h«ving learned the rudiments of the art 
under his father, he was placed under the care 
of his ur.cle, the famous Gérard Audran, in Paris. 
Before he was twenty years of age he displayed 
uncommon ability, and became a very celebrated 
engraver. In 1706 he was made engraver to the 


f) 


PORTRAITS. t be 
Louis XV.; full length ; after Gobert. a 
Maximilian Emmanuel, Elector of Bavaria, with. haat & 
Page ; full length; after Vivien. : 
Clement Augustus of Bavaria, Mle a Ge “a 
Cologne ; after the same. 
The Duke a@’Antin ; after Rigaud. 
The Abbé Jean d’Estrées ; after the same. — My 
Victor Marie, Duke d’Estrées, Marshal of France; after 7 
Largilliére. 
Cardinal Pietro Ottoboni; after Trevisani. 
Frangois de Salignac de la Motte Fénelon, Asehbishoe 
of Cambray ; after Vivien. 
Frangois Pierre illet ; after Tortebat. 

Francois Robert Secousse, sitting ; after Rigaud. » 
Peter Paul Rubens ; after Van Dyck ; for whe Luxem- a 
bourg Gallery. + 
Noel Coypel, Painter to the King; after Coypel. 
Antoine Coysevox, Sculptor to the King; after Huger 


[The two last were engraved by Audran for his Xi ieck a 


tion at the Academy in 1708.] 


SUBJECTS AFTER VARIOUS MASTERS. 


Our Saviour preaching to the Multitude; after Raphael. — 

The Infant Saviour regarding the Cross presented by 
Angels ; after Albant. 

The N ativity ; after Pietro da Cortona ; oval. 

The Good Samaritan ; after Ann. Carracei ; ; arched. —. 

St. John administering the Sacrament to the Virgin; 
after Lodovico Carracet. 


Our Saviour on the Mount of Olives; after Domenit- 


chino. 

St. Andrew led to Crucifixion ; after Guido. . 

The Martyrdom of St. Peter ; after Guido ; onthe wlage 
improperly called after Domenichino. 

St. Paul preaching at Athens; after Ciro Ferri; a 
small frieze. 

The Triumph of Galatea; after Carlo Maraita ; for the 
Crozat Collection. 

The Miracle of the Loaves; after Claude Audran. 


Six plates—Copies of the iarge Battles of Alexander; — 4 


by G. Audran. 

St. Augustine; after P. de Champagne. 

Simeon holding the Infant Jesus; after M. Corneille. 

Moses saved from the Nile; after Ant. Coypel. 

Jacob and Laban ; after the same. 

Athalia and J oash; after the same. 

Esther before Ahasuerus ; after the same. 

The Resurrection; after the same. 

Cupid and Psyche ; after the same. 

Our Saviour curing the Sick; after Ant. Dieu. 

Christ bearing His Cross ; after the same. 

The Elevation of the Cross; after Van Dyck. 

The Crucifixion; after the same. 

The French Parnassus ; after the bronze by Garnier. 

The Miraculous Draught of Fishes; after Jowvenet. 

The Resurrection of Lazarus ; after the same. 

The Queen Blanche inspired with the Holy Spirit ; after 
the same. 

Acis and Galatea; after F. Marot. 

Venus punishing Psyche ; after J. M. Nattier. 

Psyche consoled by Cupid; after the same. 

The dead Christ, with the Marys, St. John, and Nico- 
demus ; after Poussin. 

The Rape of the Sabines; after Poussin; his most 
esteemed print. 

St. Scholastica at the point of Death; after J. Restout. 

Andromache entreating for her Son; after L. Silvestre. 

Henri IV. deliberating on his future Marriage ; after 
Rubens. 

Henri IV. departing for the German War; after the 
same, 

The Coronation of Marie de Médicis; after the same. 

[The three last form part of the Luxembourg Gallery.] 


AUDRAN, Louis, the fourth and youngest son 


executed by his relatives. 


| of Germain Audran, was born at Lyons in 1670, 


and instructed in engraving by his uncle Gérard. 


He did not execute many plates, but assisted his 
brothers inforwarding theirs. He died at Paris about 
1712. He engraved some copies of the large plates 
There is a set of seven 
_ middle-sized plates by him of the ‘ Seven Acts of 


* Mercy,’ after Bourdon. He also engraved after 


the works of Le Brun, Poussin, and other French 
painters. | 

AUDRAN, ProsPeR GABRIEL, the grandson of 
Jean Audran, born in Paris in 1744, was a pupil 
of his uncle Benoit II., but having no vocation 
for art, he abandoned it for the law. He after- 
wards became teacher of Hebrew in the College 
de France, which office he retained until his death 
in 1819. He etched some studies of heads. 

AUER, JoHANN PAvL, who was born at Nurem- 
berg in 1636, studied from 1654 to 1658 under 
Georg Christoph Eimmart at Ratisbon. In 1660 
_ he went to Venice, and there received instructions 
from Pietro Libri. He then went to Rome, where 
he stayed upwards of four years, and thence 
through Turin and Lyons to Paris, and so home 
to Nuremberg in 1670. He died in 1687. Auer 
painted historical, landscape, and genre pictures, 
besides portraits of many famous personages, for 
which he was very celebrated. 

_ AUERBACH, Joann GoTTFRIED, was born at 
_ Mihlhausen, in Thuringia, in 1697. He went to 

Vienna, where he subsequently rose to great fame 
as a portrait painter. 
Emperor Charles VI., and also to the Empress Maria 
‘Theresa. He died in Vienna in 1753. In the Bel- 
vedere Gallery there is a portrait of Charles VI. 
by him: he also painted, in 1728, the heads of 
Charles VI. and Count von Althan, in the large 
picture by Solimena, in the sanie gallery, which 
represents the Emperor receiving from the Count 
the inventory of the Royal Picture Gallery. A 
‘St. Anne,’ by Auerbach, is in the church of St. 
Margaret in Vienna. He engraved a plate of him- 
self painting the portrait of his wife. 

AUERBACH, Kart, son of Johann Gottfried 
Auerbach, was born at Vienna in 1723, and became, 
under his father’s instruction, a talented painter of 
portraits and history. The cathedral of St. Stephen 
in Vienna possesses an altar-piece and a ceiling- 
painting by him. At Hetzendorf and Innsbruck 
there are also examples of his art. Karl Auerbach 
died in Vienna in 1786 (or 1788). 

AUGUSTIN, JEAN BaAprisTE JACQUES, a minia- 
ture painter in enamel, was born at St. Dié (Vosges), 
in 1759. He went to Paris in 1781, where he 
struggled against the bad taste then prevailing, and 
regenerated the almost forgotten art practised by 
Petitot. In 1819 he was appointed miniature 
painter to the King, and in 1821 was honoured 
with the title of Chevalier de la Légion d’Honneur. 
His miniatures, which are distinguished by purity 
of design, vigour of tone, and richness of colour, 
are eagerly sought for by collectors. Amongst 
the finest portraits produced by him are those of 
‘Napoleon I.,’ ‘The Empress Joséphine,’ ‘ Louis 
Buonaparte,’ ‘Caroline Murat,’ ‘Louis XVIII.,’ 
‘The Duke of Angouléme,’ ‘Baron Denon,’ ‘Gi- 
rodet the Painter,’ ‘Lord William Bentinck ;’ and 
especially his female portraits after Greuze. He 
died of cholera in Paris in 1832. 

AUGUSTINI, Jan, who was born at Gréningen 
in 1725, studied under Philip van Dijk. He 
painted flowers with some degree of merit; and his 


He was court-painter to the | 


PAINTERS AND ENGRAVERS. 


portraits were considered to possess an astonish- 
ing resemblance. He died at Haarlem in 1773, 
according to Van der Willigen and Van Eynden, 
although Terwesten says he was still living there 
in 1776. 

AULNE, Dew’. See DELAuNE. 

AURODX, Nicoxas, an engraver, who was born 
at Pont-Saint-Esprit (Gard), worked in Lyons and 
Turin in the middle of the 17th century. Heineken 
speaks of four portraits by him, and a print of the 
‘ Virgin Mary holding the Infant Saviour, with St. 
John kissing His foot.’ There is also a Frontis- 
piece by him to the second volume of Daniel 
Sennert’s Opera medica; dated 1650. 

In Meyer’s ‘ Kiinstler-Lexikon’ there is a list of 
30 engravings by him. 

AUSTIN, Ricuarp T., who flourished in London 
in the beginning of the 19th century, studied 
under John Bewick, and became a wood-engraver 
of moderate ability. He was chiefly employed 
by the booksellers. He executed the cuts for 
Linneus’s ‘Travels in Lapland,’ published in 1811, 
and occasionally painted landscapes. 

AUSTIN, SamvEL, was in early life a banker’s 
clerk in Liverpool. In 1824 he went to London 
and joined the Society of British Artists, with 
whom he exhibited for three years. He then, in 
1827, became an associate member of the Society 
of Painters in Water Colours, and contributed 
landscapes and sea-side pictures to their exhibi- 
tions, until his death in 1834. 

AUSTIN, Wittiam, an English engraver, born 
in London in 1721. He was instructed in the art 
by George Bickham, and has engraved some plates 
of landscapes, after Van der Neer, Ruisdael, and 
Zuccarelli. His principal works were a set of six 
plates of ‘Views of Ancient Rome,’ and four of the 
‘Ruins of Palmyra.’ He died at Brighton in 1820. 

AUSTRIA, Don Juan or. See JUAN. 

AUTGUERS, G.,a French engraver, who resided 
at Lyons about the year 1623, worked chiefly 
for the publishers, and engraved some portraits 
and other book plates, which are very indifferently 
executed. 

AUTISSIER, Louis Mariz, who was born at 
Vannes, in Brittany, in 1772, studied art under 
Vautrin, and then passed some time as a soldier. 
He afterwards settled at Brussels, and devoted 
himself to miniature painting, and became famous 
for his portraits. The following years of his life 
were divided between Belgium, Holland, and 
France. He exhibited works at Brussels, Ghent, 
Antwerp, Amsterdam, and Paris; and was much 
employed in painting miniature portraits of the 
sovereigns, nobility, and celebrities of Belgium 
and the Netherlands. Autissier occasionally exe- 
cuted historical works also in miniature. He died 
at Brussels in 1830. At one time of his life he 
adopted the Christian names of Jean Francois, 
which his father bore. 

AUTREAU, Jacqugs, a French portrait painter 
and dramatic poet, was born in Paris in 1657. He 
died in 1745. His portrait of himself is in the 
Musée of Versailles. 

AUTREAU, Louts, the son of Jacques Autreau, 
painted portraits and genre subjects. He was 
born about 1692 in Paris, where he died in 1760. 
It is doubtful whether some portraits are by the 
father or by the son. 

AUVRAY, JosepH Fuiix Henri, a French his- 
torical painter, was born at Cambrai in 1800. He 
was a pupil of Momal in Valenciennes, and 3 


A, a 
ar U 
Bat 


A BIOGRAPH: 


Jay, 9 


wards of Gros in Paris. He exhibited in 1824, | 


‘St. Louis a Prisoner,’ and in 1827, ‘Gautier de 
ChAtillon defending St. Louis against the Saracens,’ 
now in the Museum of Cambrai; ‘St. Paul at Athens,’ 
&c. He died in 1833, in his native city. 

AUVRAY, Pierre Lavrent, a French engraver, 
who was born in Paris in 1736, studied the art of 
engraving under Cars. He practised in Paris and 
in Basle. He engraved portraits of French come- 
dians and other subjects. 

AUZOU, Pavtine, née DEsMARQUETS, a distin- 
guished paintress of familiar subjects and portraits, 
was born in Paris in 1775. She was instructed 
by Regnault; and several of her interesting pic- 
tures, purchased by the French Government, the 
Duchess de Berri, and the Society of Friends to 
the Arts, have been engraved. ‘Two scenes from 
the Life of the Empress Marie-Louise, by her, are 
at Versailles. Madame Auzou died in 1835 in Paris. 

AVANZI, Drew (or De Avactis). See Drei 
AVANZI. 

AVANZI, GiusEPPE, was born at Ferrara in 
1645, and studied under Costanzo Cattaneo. He 
painted many pictures for the churches and con- 
vents in that city, which are particularly noticed 
in Guarini’s description of the pictures and sculp- 
ture of Ferrara. In the church of the Madonna 
della Piet&a are four pictures of subjects from 
the life of St. Gaetano, and in the church of San 
Domenico is the ‘ Marriage of St. Catharine,’ con- 
sidered his best work. In San Giuseppe are two 
scenes from the life of St. Thekla, the ‘ Annuncia- 
tion,’ and ‘ Visitation of the Virgin,’ scenes from 
the ‘ Life of Christ,’ and other pictures. Numerous 
other churches in Ferrara possess examples of the 
art of Avanzi, who was one of Ferrara’s best 
painters. He died in 1718. 

AVANZI, Jacopo, (or Da Vanzo,) of Verona, 
has long been confused with Jacopo degli Avanzi 
of Bologna; but the remains of an inscription 
in the Cappella San Giorgio point to’ Verona as 
the birthplace of Avanzi. He painted decor- 
ations, in conjunction with Altichiero da Zevio, 
in the Cappella San Felice and the Cappella San 
Giorgio in the church of Sant’ Antonio at Padua, 
in 1377. It appears that the principal frescoes 
in the Cappella San Felice were the work of Alti- 
chiero; and of those in the Cappella San Giorgio, 
which were recovered from oblivion in 1837 by 
Dr. E. Forster, the part to be assigned to Altichiero 
has given rise to much dispute; but it is thought 
by some authorities that Avanzi executed the 
principal portion. The frescoes represent the 
earlier part of the ‘History of our Lord,’ the 
‘Coronation of the Virgin,’ the ‘ Crucifixion,’ and 
‘Legends of St. George, St. Catharine, and St. 
Lucy.’ They prove the painter to have been an 
artist of no common genius, and Kugler, in his 
description of them, speaks of his art as being 
above that of his contemporaries. Avanzi also 
painted two triumphal processions in a public hall 
of Verona, which have long since perished. He 
died about the end of the 14th century. 

AVANZINO, Nuoct, called from his birthplace 
‘ Avanzino da Citta di Castello,’ was born in 1551. 
When he was still young he visited Rome, and 
became the pupil, and subsequently assistant, of 
Niccolo Pommerancio. During the pontificates of 
Sixtus V. and Clement VIII. this painter was held 
in great esteem, and employed in the loggie of 
San Giovanni in Laterano. He also painted many 
pictures for the churches in Rome, of which 

64 


. = 
kA te ae bie, fade ake os 
Sr es 


RY SOR Ses 


aM 


Baglioni gives a particular account, — 
best works may be considered his paintings ‘in 
fresco in San Paolo fuori le mura, representing — 
the ‘ Miracle of the Serpent in the Isle of Malta,’ — 
the ‘Decollation of St. Paul,’ and his ‘Taking up — 
into the third Heaven.’ Avanzino died at Rome — 
in 1629. | 
AVECEDO, CrisrToBaL, a Spanish painter,some- 
time scholar of Bartolomé Gardena at Madrid. — 
A Murcian born, he is enumerated with the — 
nobilities of the city by the native poet, Jacinto 
Polo de Medina. He painted for the chapel of — 


| the College of San Fulgencio, in Murcia, a large _ 


picture of that saint adoring the blessed Virgin ; 
this, with other works executed for convents, gives 
a favourable impression of his powers. He flour- 
ished in the beginning of the 18ih century. == 

AVED, Jacques ANDRE JOSEPH, who was born 
at Douai in 1702, received his first instruction inart 
from Bernard Picart. Aftersometimespentintravel- __ 
ling in the Netherlands, he wentin 1721 to Paris,and 
entered the studio of A. S. Belle. At that time he — 
enjoyed the friendship of Carle van Loo, Boucher, — 
Chardin, and other celebrated painters. Hesoon 
rose to great fame through his portraits, which he 
painted finely and carefully. In 1738 Rousseau 
sat to him; in 1751 he went to the Hague,and 
painted the portrait of William IV. Soon afterhe 
executed the portrait of Louis XV., and was made 
painter to the king. Aved exhibited, atintervals, — 
at the Paris Salons from 1737 to 1759. He died at 
Paris in 1766. A portrait by him of the Marquis 
de Mirabeau is in the Louvre. His works have 
been engraved by Baléchou, Lépicié, Mellini, Daulé, 
and others. mA 

AVEELEN, JAN VANDEN. SeeVAN DEN AVEELEN. 

AVELINE, Anroine, a French designer and 
engraver, born in Paris about the year 1691. He 
was probably the son and pupil of Pierre Aveline, 
‘the elder,’ with whom he has been confused by 
Heineken, Le Blanc, and others. Antoine died in © 
Paris in 1743. He engraved anumberof plates of 
landscapes, and views of the palaces and chateaux 
in France and other parts of Europe, executed in 
a neat and agreeable style. The following are 
worthy of notice : 

Innocence ; after F. Boucher. 

Six volumes of Ornaments and Figures a la mode; after 

Mondon, fils. . 

Kight Views of French Chateaux. 

Four Views of French Towns, 

Four Plates for ‘ Nouvelle Déscription de la Ville de 

Paris,’ by Germain Brice. 

AVELINE, Frangois ANTOINE, who was born in 
Paris in 1727, was the son of Antoine, and cousin 
and scholar of Pierre ‘the younger,’ but did not 
equal him in talent. He worked chiefly for the 
booksellers at Paris, and afterwards removed to 
London; but either had not sufficient ability or 
industry to succeed, for he died there in indigence 
in 1762.. We have the following: plates by him: 

Neptune calming the raging waves; after Boucher. 

The Four Seasons ; copied from Pierre Aveline. ‘ 

Chinese figures; six plates; after Boucher. 

The Chinese Bark; after the same. 

The Spanish Musician; after J. Velsen. 

The Flemish Musician; after D. Teniers. 

View of a Port in the Levant; after Vernet. 

Chinese figures and subjects; six plates ; after Pillement. 

London, 1759. 

AVELINE, Pierre, ‘ the elder,’ was born in Paris 
in 1660. He studied under Adam Perelle, and 
engraved landscapes, views of towns, and garden 


eet Uh 


in the manner of his master. He died, 
according to Mariette, in 1722. The following are 
ome of his best plates’ 

Nine Costume plates. 

Six Sea-views (with Fouard) ; after J. van Beecq. 
Highteen Landscapes; marked Aveline inv: et fec. 

- Numerous Views in Paris. ; 

_ Numerous Views of French Chateaux. 

AVELINE, Pierre ALEXANDRE, ‘tne younger,’ 
French designer and engraver, was born in Paris 
in 1710. He was a nephew of Antoine Aveline. 
He was instructed in the art by Jean Baptiste de 
 Poilly. His drawing, though not very incorrect, is 
stiff and formal. It is, however, to be regretted 
that he didnot make a better selection of subjects 
for the exertion of his talent, and that he employed 
__ @ great portion of his time in trifling and insig- 
nificant sketches. He died in Paris in 1760. The 
__ following are his prints most worthy of notice : 


; SUBJEOTS FROM HIS OWN DESIGNS. 
_ Four plates of the Seasons, represented by Children. 
Five Plates of the Senses. . 
_ Four Plates of the Quarters of the World. 
/ ~~ - ‘Venus at her Toilet. 
; Bacchus and Ariadne. 


ss SUBJECTS AFTER DIFFERENT MASTERS. 


The Cardinal de Fleury, accompanied by the Virtues; 
| after Chevallier. 
| The Wrath of Neptune; after Albani ; inscribed Quos 


ego. 
Sapiter and Io; after Schiavone; for Crozat Collection. 
Diana and Actzon; after J. Bassano; for the same. 
_ The infant Moses brought to the Daughter of Pharaoh 
after Giorgione. : 
_ Departure of Jacob; after Castiglione; \ for the Dres- 
_ Noah entering the Ark; after the same; § den Gallery. 
_ The Death of Seneca; after Luca Giordano. 
Christ healing the Sick; after Jouvenet. 
A Landscape; after Nicolaas Berchem ; fine. 
The fortunate Accident; after Van Falens. 
Folly; after Corn. Visscher. 
The Birth of Bacchus; after F. Boucher. 
The Rape of Europa; after the same. 
Three Subjects of Cupid; after the same. 
La Belle Cuisiniére; after the same. 
Venus and Cupid; after the same. 
_ The prudent Shepherdess; after the same. 
_ The Rape of Helen; after Deshayes. 
Z£neas succoured by Apollo; after the same. 
Hans Oarvel’s Ring; after J. L. Laurain. 
La Place Maubert, Paris; after Jeaurat. 
The Flemish Trio; after A. van Ostade. 
A Dog, with Game; after Oudry. 
A pair—One, a Boy with a Mouse; the other, a Girl 
with a Cat; after C. Parrocel. 
Diana at the Bath; after Watteau. 
The Rape of Europa; after the same. 
The Charms of Life; after the same. 
Italian Recreation; after the same. 


AVELLI. See XantTo AVELLI. 

AVELLINQ, Givtio, or GiAcINTO, D’, called I 
MEsSINESE, was a Sicilian, born at Messina about the 
year 1645. He is said to have been a scholar of 
Salvator Rosa, at Naples, and painted landscapes 
in the grand style of that master. After visiting 
Rome, Venice, and other important cities of Italy, 
he settled at Ferrara, where landscape painting, 
since the time of Dossi, had been almost abandoned, 
and was much employed by the nobility of Ferrara, 
as well as of Cremona, and it is in those cities 
— that his works must be sought. He enriched his 
landscapes with ruins, architecture, and figures, 
spiritedly designed, and boldly touched. Avel- 
lino’s works are highly prized and much sought 
after. He died in 1700, at Ferrara. 


F 


PAINTERS AND ENGRAVERS. 


AVELLINO, Onorrio. According to Dominici 
this painter was born at Naples in 1674; he 
studied under Luca Giordano, and subsequently 
with Francesco Solimena. He afterwards passed 
some years at Rome, where he painted the vault of 
the church of San Francesco di Paola, which is 
considered his best performance. In the church of 
Santa Maria di Monte Santo is an altar-piece by this 
master, representing a subject from the Life of St. 
Albert. He died in1741. Avellino’s copies of the 
works of his masters were so successful that they 
have passed for originals. 

AVELLO, Franc. Santo. See URBINO, Rov. pa. 

AVEMANN, Wotr, a native of Nuremberg, was 
a pupil of Hendrik van Steenwijk, and painted 
interiors of churches and other buildings in the 
manner of his master. After the year 1620 he 
left Nuremberg and went to Hesse, where he met 
with a violent death. 

AVERARA, Giovanni BATTIsSTA, (or AVERARIA, 
or AVERNARIA,) was born at Bergamo about the 
year 1508. The name of his instructor in art is 
not known, but he formed his style of colouring 
from the works of Titian. Ridolfi mentions some 
fresco paintings by this master in favourable 
terms, particularly two pictures in the church of 


‘San Francesco, at Bergamo; he also executed works 


in the Palazzo del Podesta in that city. He painted 
landscape and architecture, and was greatly cele- 
brated in his day for his observance and skilful 


representation of nature, not only in the scenery, 


but in the figures and animals with which he orna- 
mented his pictures. The beauty of his tints, the 
design of his infant figures, and the nature of his 
landscapes, all show that he aspired to the Titian 
manner. Muccio, in his ‘Teatro di Bergamo,’ calls 
him a universal genius. He died in 1548. 
AVERCAMP, HeEnpRIK VAN, was surnamed ‘de 
Stomme van Kampen’ (‘the Mute of Kampen’), 
—a name Immerzeel tells us he obtained on ac- 
count of his taciturnity. He was probably born 
at Kampen about the end of the 16th century, and 
lived, it is said, at the Hague. He produced many 
pictures, principally landscapes ornamented with 
cattle, and marine subjects; but they have lost 
much of their value on account of their change of 
colour. His favourite subjects were winter scenes. 
The Dresden Gallery has two Dutch Kermesses on 
the ice; and other paintings by him are in the 


Galleries of Berlin, Rotterdam, Antwerp, and in 
many private collections in Germany. His draw- 
held in great estimation. They are met with in 
several of the collections of Germany and Holland; 
the Stadel Collection at Frank- van H 
Vienna ; the Berlin Museum, and ) 
elsewhere. 

AVERNARIA. See AVERARA. 
ished about the year 1630. He excelled in paint- 
ing perspective and architectural views, which 
were frequently ernbellished with figures by Giulio 
remarkable views in Venice. He also produced 
some landscapes and sea-ports. 

AVIBUS, Gasparo AB. See OSELLO. 
etched for his amusement some plates in a slight, 
though spirited style, after N. Poussin, and other 
masters; of these the most esteemed is a middle- 


ings with the pen, and in black chalk, are still 
fort; the Albertina Gallery at 
AVIANI, Francesco, a native of Vicenza, flour- 
Carpioni. His pictures usually represent the most 
AVICE, Chevalier Henri pv’. This amateur 
sized plate of the ‘ Adoration of the Magi,’ apt 


Poussin. Avice flourished in the middle Ae the Two Bacchanalian subjects of Children; one, Ba 


17th century. 

AVIGNON, Mienarp dD’. See MIGNARD. 

AVILA, AnpREs SANCHEZ D’. See SANCHEZ D’ 
AVILA. , 

AVILA, Francisco, was a portrait painter of 
Seville, who flourished in the 17th century, and 
was distinguished for the suavity of his colour 
and the truth of his likenesses. 

AVILA, HERNANDO DE, painter and sculptor to 
Philip II. of Spain, flourished in the middle of the 
16th century. He was a pupil of Francisco 
Comontes. He executed, in 1568, an altar-piece 
of ‘St. John the Baptist,’ and the ‘ Adoration of the 
Kings,’ for the cathedral of Toledo. 

AVISSE, Francois Remi Josepn, a French genre 
painter, who was born at Douai in 1763. He 
studied in Antwerp, and died in his native town 
in 1843. 

AVOGADRO, Pierro, was a native of Brescia, 
and flourished about the year 1730. He was a 
scholar of Pompeo Ghitti, whose style he followed 
with a mixture of Venetian colouring, especially 
in the carnations. The contour of his figures is 
graceful, and the general effect of his pictures is 
harmonious and pleasing. His principal work is 
the ‘Martyrdom of SS. Crispin and Crispinian,’ 
in the church of San Giuseppe, at Brescia. In 
the church of San Francesco are five pictures 
illustrating the ‘Life of St. Peter,’ in the chapel 
dedicated to that saint. Works by him are in 
other churches of Brescia. Lanzi observes that, 
in the opinion of many, Avogadro holds the 
first place in Brescian art, after the three great 
painters in Brescia— Bonvicino, Gambara, and 
Savoldo. 

AVONSTERN. See SzutsrR, DAN. 

AVONT, PEETER VAN, was baptized at Mechlin 
on the 14th of January, 1600; the day of his birth 
is not recorded. His teacher’s name, too, is not 
known. In the year 1622-23 he was made free 
of the Guild of St. Luke at Antwerp, and his name 
occurs at intervals in its records, as well as in those 
of the city, till his death, which took place at 
Deurne, near Antwerp, in 1652. He painted land- 
scapes, enriched with figures well drawn, and 
touched with great spirit. He frequently decor- 
ated the landscapes of Vinckenboons, Jan Brueghel, 
the elder and the younger, Jan Wildens, Lodowijck 
de Vadder, and other painters. Three signed land- 
scapes by him are in the Belvedere Gallery, two 
with ‘Holy Families,’ and one with ‘ Flora and 
Genii.’ The Munich Gallery has a‘ Holy Family,’ in 
a landscape, the joint production of Avont and 
Jan Brueghel, the elder. The Liechtenstein Gallery 
also has three pictures by Avont. Antwerp, in its 
churches and private collections, has examples of 
his art. The etchings of Avont are rare, and not 
all which are ascribed to him are genuine. The 
following are some of the plates 


which have been engraved after lat V oN 


his works: 


The Virgin Mary, with the Infant Jesus, St. John, and 
St. Elisabeth. 


eye hain suckling the Infant, with St. John and an 


gel. 

he ner and Infant in the Clouds ; inscribed Regina 

elt. 

The Magdalene ascending to Heaven. 

Twenty-four small plates of Children, on each plate a 
Child and an Angel. They were entitled Pedope- 
gnion, and engraved by Hollar. 

ore oss Elements, represented by Four Children. 


A BIOGRAPHICAL DIC 


> Se he 
eS a 
tA 
X ei 


SIONARY OF 


rei 
y 
i 


2 


drawn in his Car; the other, Bacchus carried b 
Children; Pet. van Avont, inv., fec., et exe. a4 
AVRIL, Jean JAcquss, ‘the elder,’ was born at 


dimensions, among which are: 


La Vierge au linge; after Raphael. 
Mars going to Battle; after Rubens. 
Mars returning from Battle; after the same. 


A Shepherd and Shepherdess; called the Croc-en-jambe Be | 


after the same. . 
Apollo with the Seasons, dancing; after Poussin, 
Diana and Actzon ; after Albani. yt 
Diana and Callisto; after the same. 


Venus revenging herself on Psyche; after De Troy. ; a : 


Pygmalion and Galatea; after Marilher. 
St. Genevieve; after C. van Loo. 

Fishermen returning ; after Vernet. 
Travellers in a Storm; after the same. 

The Shipwreck; dated 1775; after the same. 


The Double Recompense of Merit; after P. A. Wille. 4 


1784. 
French Patriotism; after the same. 1788. 
The Taking of Courtrai; after Van der Meulen. 1782. 
The Passage of the Rhine; after Berchem. 
Catherine II. on her Travels; after F. de Meys. 1790. 
Ulysses and Penelope; after Le Barbier. 


Combat of the Horatii and Curiatii; after the same. q 


1787. 


AVRIL, Jean Jacquss, ‘the younger,’ who was 
born in Paris in 1771, was the son of J. J. Avril, 
the elder. He studied under Le Barbier, Suvée, 
and Bervic, and engraved some excellent plates 
from pictures by the old masters, as well as many 
plates of sculpture in the Louvre, for the ‘ Musée 
Frangais.’ He died in Paris in 1835. 

AXARETO, GriovaccHino. See ASSERETO. 

AXELT, Jonann. See AZELT, 

AXMANN, JosrrH, an engraver, who was born 
at Briinn in 1798, first studied drawing and painting 
under J. J. Weidlich, and, later, engraving under 


Blascloke at Vienna. He died at Salzburg in 1873. { 


Among his works are: ° 


Landscape; after J. @’ Arthois. 

Samson ; after Van Diyck. 

Moonlight Scene ; after Van der Weer. 

The Styrian Charcoal Burners; after Gauermann. 

Madonna; after Murillo. ; 

Francis I., Emperor of Austria; after Schiavone, and 
after Schwager. 

Elizabeth, Empress of Austria; after Schwager. 


AXTMANN, LeEopoxp, a clever animal painter, — q 


born at Fulnek, in Moravia, in 1700, was the pupil 
of John George Hamilton of Vienna, and rivalled 
him in reputation. He settled at Prague, and died 


there in 1748. He excelled in painting dogs and 


horses ; there are several good pictures by him in 
Bohemia, 


AYALA, BERnaBk, an historical painter, who — 


was born at Seville in the beginning of the 17th 
century, studied under Zurbaran, and imitated 
his manner in his tints and draperies. No doubt 


many of his pictures are now mistaken for the — 


work of his master. He was one of the founders 
of the Academy at Seville in 1660, and was a 


member of it until 1671; but as his name does not q 
appear with the subscribers to the statutes in 1673, 


it is supposed that his death occurred between 
those years. 


that city and of Madrid. 


AYBAR XIMENEZ, Prono, a Spanish painter, 


Paris in 1744; he was a scholar of J. G. Wille, 
and has engraved several plates, which are de- 
servedly admired. He died in Paris in 1831. By 
him we have about 540 pieces, some of large ‘ 


oa: 
z 


§ 


The Museum of Seville has six of — 
his works, and there are others in the churches of — 


vq 
ie 


a 


 & 
At 
wa 
. 


b 


< 
' 
“ 


i 
) 
i 


| ;] 
ie 


sa™ 
rier 


i 


was pupil of F. Ximenez, whose style he imitated. 


_ He painted historical subjects, and the pictures he 
_ produced in Calatayud, in 1682, are 


raised for 
their composition, design, and colour, There is no 
account of him after that year. 

_ AYERBE. See Arzos. 


AYLESFORD, Heneace Fincx fourth Earl of, 


_ previously Lord Guernsey, who was born in London 
in 1751, practised art as an amateur with much 


success. He was an honorary exhibitor at the 


Royal Academy from 1786 to 1790. His works are 
chiefly water-colour drawings of architectural and 


rural subjects: he also executed several etchings. 
He died in 1812. 

AZEGLIO. See TaPaRELui D’ AZEGLIO. 

AZELT, JoHANN, (or AXELT,) who was born in 
1654, appears in Nuremberg records under various 
names—Arzold, Arzoldt, and Atzold. He seems 
to have confined himself almost entirely to por- 
traits, which are but indifferently executed. He 
engraved : 

The Emperor Joseph I.; after A. Hanneman. 

Georg Friedrich, Prince of Waldeck. 
_ Asset of Portraits of the Kings of Spain, Hungary, and 
Bohemia, &c.; and many of the plates in Freher’s 

Theatrum Virorum Eruditione Clarorum. 

AZZERBONI, Giovanni, an Italian engraver, 
was a pupil of Guglielmo Morghen. He worked 
at Rome towards the end of the 18th century, and 
appears to have died before 1810. He engraved 
‘The Magdalene,’ after Guercino. 

_ AZZOLINI, Giovanni BERNARDO, or BERNARDINO, 
—called Mazzotint or MassoLinI—was born at 
Naples about the year 1560. He went, in 1610, to 

Genoa, where there are several of his works in the 
churches and convents, and in-private collections. 
Two pictures by him, in Genoa, are mentioned by 
Soprani as works of great merit: the one an 
‘Annunciation,’ painted for the high altar of the 
‘Monache Turchine,’ and the other a ‘ Martyrdom 

of St. Apollonia,’ in the church of San Giuseppe. 
Azzolini also worked in Naples and Rome. He 
excelled in wax-work, and formed heads with an 
absolute expression of life. 


B 


BAADE, KNop, a marine and landscape painter, 
was born in Skiold, in South Norway, in 1808, and 
removed, while still a boy, with his family to Bergen, 
where he received his first instruction in art. In 
1827 he went to Copenhagen, and there studied at 
the Academy for about three years, when want of 
means compelled him to go to Christiania and 
commence portrait-painting: thence he went to 
study in Bergen, where the mountain-topped fiords 
and rocky bays afforded ample subjects for his 
pencil—and he also travelled northward to Dront- 
heim in search of material for his pictures. In 
1836 he was persuaded by his countryman, Dahl, 
the well-known landscape painter, to go to Dres- 
den, in which city he studied for three years— 
returning to his native country in 1839 on account 
of a disease in his eyes. In 1846 he went to 
Munich, and soon earned as a landscape painter 
a reputation, which he increased year by year, 
executing paintings of his native country and the 
scenes around his native coasts, which he mostly 
depicted with moonlight effects. Though but an 
invalid, he laboured at Munich continually until 
his death, which occurred in that city in 1879. 

F2 


PAINTERS AND ENGRAVERS. 


Baade was painter to the Court of Sweden, and a 
member of the Academy of Arts at Stockholm. 
The following are among his best works: 


Christiania. Vat. Gallery. Wood at North Kyst. 
London. South Kensington The Wreok 


Museum. 
Munich. Pinakothek. - Scene from Norse Mythology. 


Stockholm. Wat. Gallery. Ship by Moonlight. 

BAADER, Amatiz, was born at Erding, in 
Bavaria, in 1763. She studied engraving under J. 
Dorner, the director of the gallery at Munich, and 
practised it for amusement, not as a profession. 
Her mark, an A and 8 interlaced, is found on 
copies after Rembrandt, G. F. Schmidt of Berlin, 
and some Italian masters. After her marriage she 
was known by her husband’s name, Van Schat- 
tenhofer. She died at Munich in 1840. 

BAAK HATTIGH, Jan, a painter of Utrecht, 
lived in the middle of the 17th century, as we find 
by a picture in the hospital of St. Job in that 
city, with the date 1642. It is a landscape with 
figures in the manner of Poelemburg, and ap- 
proaches so near to that master, that it may be 
concluded he was one of his scholars. 

BAAN, J. DE, (or Barn). See De Baan. 

BABEL, P. E., a French designer and etcher, 
was born in Paris in the early years of the 18th 
century (perhaps in 1720), and flourished there as 
late as 1755. He is said to have died in 1761. 
He has left numerous plates of ornamental decora- 
tion—some after his own designs—chiefly for the 
embellishment of books. Heineken says that he 
was also a goldsmith. Among his productions 
are: 


ne o chg for Blondel’s ‘ Architecture frangaise.’ 
7152-56. 

Seventy-two vignette illustrations, from his own designs, 
for ‘ Traité de perspective a l’usage des artistes,’ by 
E.S. Jeaurat. Paris. 1750. 

Three plates of a Salon for the Princess Sartorinski, of 
Poland ; after J. A. Meissonnier. 

Seven plates of decoration for the Hétel de Soubise, 
Paris ; after Boffrand. 

BABUREN, THEopDoR VAN, (or BABEUR, ) a Dutch 
painter, who was born in 1570, was a scholar of 
Pieter Neefs. He painted interiors and churches 
in the manner of that master; but more frequently 
made choice of such subjects as admitted of mirth 
and conviviality; and his pictures generally repre- 
sent musical assemblies, card-players, &c., painted 
in a free, bold manner, in which his drawing is 
preferable to his colour. His chef-d’cuvre is an 
‘Entombment,’ in the style of Caravaggio, in San 
Pietro in Montorio, at Rome. His only etching, 
and this is rare, is from this picture. He died at 
Utrecht in 1624. 

BABYLONE. See BARBARJ. 

BACAREEL. See BACKEREEL. 

BACCARINI, Jacopo, was born at Reggio about 
the year 1630. He was ascholar of Orazio Talami, 
and painted history in the style of that master. 
Two of his most esteemed pictures, a ‘Repose in 
Egypt,’ and the ‘Death of St. Alexis,’ are in the 
church of San Filippo at Reggio. He died in 1682. 

BACCHIACCA, In. See UBERTINI. 

BACCHIOCCO, Carto. According to Averoldo 
this painter was a native of Milan. That author, 
in his ‘ Scelte Pitture di Brescia,’ mentions several 
of the pictures of this master in the churches and 
convents in that city, particularly in the church of 
SS. Giacomo e Filippo. 

BACCI, ANTONIO, a native of Mantua, or of eee 


was born about 1600. He was a still-life and ) 


flower painter, and was living at Venice in 1663. 

BACCIARELLI, MarceE.xo, was born at Rome 
in 1731, and studied under Benefial. In 1750 he 
was called to Dresden, where he was employed by 
King Augustus III.; after whose death he went to 
Vienna, and thence to Warsaw, where he was 
much patronized. He painted a set of the Polish 
kings, from Boleslaus Chrobry downwards. ‘That 
of Stanislaus II. (Stanislas Augustus Poniatowski) 
has been engraved by A. de Marcenay de Ghuy, 
Kistner, and A. Fogg. Bacciarelli also painted 
scenes from the History of Poland. He died at 
Warsaw in 1818. 

BACCIO DELLA Porta (Fra BARTOLOMMEO). See 
BARTOLOMMEO DI PAGHOLO. 

BACCIOCCHI, Fra Frrrantr. This painter 

was a monk, of the order of the Philippines. Some 
of his works are noticed in Barotti’s account of 
the paintings and sculpture at Ferrara. One of 
his best pictures was the ‘ Stoning of St. Stephen,’ 
in the church of San Stefano in that city; and 
in Santa Maria del Suffragio there was a ‘Holy 
Family’ by him. He flourished in the 17th cen- 
tury. 
BACH, Kart Danie. FrigpRicH, who was born 
at Potsdam, in 1756, studied and painted in Berlin, 
and in Italy, where he was much influenced by the 
works of Raphael. He subsequently became pro- 
fessor in the Art Academy at Breslau, where he 
died, in 1826. He painted historical subjects, por- 
traits, and animals, and‘he also used the etching- 
needle. 

BACHELEY, Jacquss, a French designer and 
engraver, was born at Pont |’ Evéque, in Normandy, 
in 1712. He studied under Philippe le Bas. He 
was a member of the Academy at Rouen, where 
he died in 1781. We have by him several prints 
of landscapes, after the Dutch masters; amongst 
which are the following: 


View in Italy ; after Bart. Breenberg. 

View on the Tiber; after the same. 

View of the Bridge of Voges; after the same. 

View of Rotterdam; after Van Goijen. 

The Castle of Ryswick ; after Ruisdael. 

View near Utrecht; after the same. 

A Storm on the Ooast of Greenland ; after J. Peters. 
The Redoubt of Schenck ; after B. Peters. 

The Mouth of the Meuse; after the same. 

The View of Havre de Grace; after his own drawing. 


BACHELIER, Jean JAcQuzs, was born in Paris 
in 1724. He was received into the French Academy 
as a flower painter in 1751, and again as an historical 
painter in 1763, in which year he painted the ‘ Death 
of Abel.’ His picture of ‘ Cimon in Prison, nourished 
by his Daughter,’ exhibited in 1765 as ‘ Charité Ro- 
maine,’ was allowed to replace the former work in 
the Louvre. In 1765 he founded a school of 
design for artisans, still in existence. He died in 
Paris in 1805. He was for fourty-four years 
Director of the Porcelain Factory at Sévres, and 
was also Director of the Academy of Painting, 
Sculpture, and Naval Architecture at Marseilles. 

BACHICHE, Lr. See Gavtu1. 

BACHMANN, Georg, also written PACHMANN, was 
born probably in 1600, in Friedberg, Bohemia. He 
worked for many years in Vienna, and the churches 
of that city contain examples of his art. He died 
there in 1652. Besides pictures of sacred history, 
Bachmann also executed portraits of no mean 
merit. 

sap See GAULLI. 

6 


A BIOGRAPHICAL DICTIONARY OF 


BACKER, Apriaan, the nephew of . 
Backer, was born at Amsterdam in 1643. — 
was sent to Italy when he was young, where 
studied several years, and acquired a tast 
correctness of design, not very common i 
artists of his country, which is discernible in 
his works. His most esteemed picture is in th 
old town-hall at Amsterdam, representing the ‘ La 
Judgment; ’ it is an ingenious composition, and 
painted in a good style. A ‘ Rape of the Sabines,’ 
signed by him and dated 1671, is in the Brunswick 
Gallery. An allegorical picture of ‘ Painting, 


Peace, and Justice’ is in the Antwerp Museum, ~ aq 


He died at Amsterdam in 1686. 


BACKER, Br. (BARTHOLOMAUS, or BARENT),was 
an engraver, who flourished at Amsterdam in the 
middle of the 18th century. He executed plates 
of portraits and views in a neat, finished manner. __ 


BACKER, Franz DE. See DE BackEr. 


BACKER, Jaco A., or BAKKER (not to be con- a 
founded with Jacob de Backer, of Antwerp), a 


was born at Harlingen in 1608 or 1609; he studied — 


under Lambert Jacobsz at Leeuwarden, and then __ 
with Rembrandt, whose studio he entered between __ 
1632 and 1634. His chief residence wasat Amster- — 

dam, where he distinguished himself as a portrait 
Such was the extraordinary facility and 


painter. 
rapidity of this artist, that Houbraken asserts that 
he finished the half-length portrait of a lady, 
dressed in a troublesome drapery and loaded with — 
jewels, in one day. He also acquired great reput- 
ation as a painter of history; and his pictures 


were extolled in the poetry of Vondel, his country- 


man. He died in 1651, at Amsterdam, in the 
forty-second year of his age. The following are 
some of his most important works: 


Amsterdam. Town hall. An Archery-piece ; signed J.B. 
1642. 


eG Gallery. Six Regents. 1676. - 
bs om The Regents of the Work- — 
house, a 
Brunswick. Museum. Portrait of himself, 
Sleeping Nymph. 


Dresden. Gallery. Two Portraits. 

He also etched some plates from his own designs. — 
BACKER, Jakos DE. See DE BAcKER. j 
BACKER, Nicotas DE. See Dr BACKER. 
BACKEREEL, GILuEs, (or BAKEREEL,) who was 

born at Antwerp in 1572, studied in Italy and then 

returned to his native city, the churches of which 
formerly possessed a number of his works. In 
the Brussels Museum are an ‘ Adoration of the 

Shepherds,’ and the ‘ Vision of St. Felix,’ and in 

the Vienna Gallery a ‘Hero mourning Leander.’ 

Backereel’s name is also frequently distorted into 

Baccarelles, Bakanel, Baccarelli, Bacareel, and 

Bakkarell. The date of his death is not recorded. 
BACKEREEL, WIt.ey, brother of Gilles, was 

born at Antwerp in 1570. He went to Italy to 

study, and stayed there until his death, in 1600. 

He painted historical subjects and portraits. 
BACKHUIZEN, Henprik VAN DE SANDE, whose 

mother’s name was Van de Sande, was born 

at the Hague in 1795. He studied under J. 

Heijmans, but derived most of his art instruction 

from nature, and soon became noted for his land- 

scapes, usually containing figures or cattle. 

1822 he was elected a member of the Academy at 

Amsterdam; and in 1847 he was made a Knight 

of the Order of the Lion. He died in his native 

city in 1860. His works are seen in the public 


In 


—— 


_ kothek at Munich. 


= % a = = 


xe 


ah RET 


. and private collections of Holland and Belgium. 
2 aie 


winter-landscapes by him are in the Pina- 


_ BACKHUYSEN, Lupotr. See Baxuuisen. 
BACLER p’ALBE, Louis ALBERT GUILLAIN, 


_ Baron de, a French artist, was born in 1761 at St. 
_ Pol (Pas de Calais). He was a brigadier-general 
and held other military and civil offices under 
Napoleon. He painted, during the invasion of 
_ the French, in 1797, several views in Italy: the 
_ ‘Battle of Lodi,’ the ‘Passage of the Po,’ and 
_ several other victories of the French armies. 
also painted some interesting landscapes and clas- 
sical subjects, such as the ‘Death of Paris,’ and 


3 


He 


‘(idipus wandering in Greece.’ He also etched 


_ and lithographed a large number of landscapes. 
Bs : He died at Sévres in 1824. 


_ BACON, Freperick, engraver, born in London 
in 1803, was a student of the Royal Academy for 


some time under Fuseli, and afterwards became a 


pupil and assistant of the Findens. He engraved, 
on his own account, illustrations for the Waverley 


t Novels, and for Heath’s Annuals, &c., and was 
much employed by Messrs, Colnaghi and Puckle, 


and for the Art Union. In 1869 he retired from 


_ the active exercise of his profession, and in 1882 


left England for California, where he invested in a 


_ property, and where he died in 1887. 


BACON, Sir NATHANIEL, who was born in 1547, 
was a half-brother of the great philosopher, Lord 
Chancellor Bacon. He practised art for his amuse- 


ment, after the manner of the Flemish school. 


There exist pictures by him at Gorhambury, the 
family seat, consisting of a whole-length portrait 
of himself, a half-length of his mother, and a 
‘Kitchen-maid with Fowls,’ admirably painted. 


died in 1615. His monument in the chancel of 
Culford church has, in addition to his bust, the 
emblems of a palette and pencils. 

BACQUOY. See Baquoy. 

BADALOCCHIO, Sisro—called by Malvasia, 
Sisto Rosa—was born at Parma in 1581, and was 
educated in the school of Annibale Carracci, He 
went with that great master to Rome, and assisted 
him in some of his celebrated works in that city, 
notably in the Farnese Palace. He was an ac- 
complished designer, and possessed an inventive 
genius. After the death of his master, in 1609, 
Badalocchio returned to Bologna, where he was 
much employed. He also worked at QGualtieri, 
Reggio, and Parma. He died at Bologna in 1647. 
One of his best works is a ‘St. Francis,’ in the 
Parma Gallery. In the Verospi Palace at Rome he 
painted in fresco, after Albani, ‘ Polyphemus seated 
on a Rock, with Galatea and her Nymphs;’ ‘Poly- 
phemus hurling a Rock on Acis and Galatea;’ 
‘ Mercury and Paris,’ and the‘ Judgment of Paris ;’ 
which have been engraved by Giovanni Girolamo 
Frezza. Sisto Badalocchio etched several plates in 
a free and masterly style; they are generally 
more finished than those by Guido Reni, though 
not quite so elegantly or so carefully drawn. His 
ordinary mark was S. B., f. We have among 


‘others the following plates by him: 


_ The Statue of the Laocoon ; after the antique marble 
(his best work). The Apostles and St. Thomas 
Aquinas; from the Cupola of the Cathedral at 
Parma; after Correggio. Twenty-three plates of 
Raphael’s Bible; after the frescoes in the Loggie of 
the Vatican. The Holy Family, with St. Joseph and 
St. John; after Schidone. 


PAINTERS AND ENGRAVERS. 


BADAROCCO, Giovanni RAFFAELLO, the son and 
scholar of Giuseppe Badarocco, was born at Genoa 
in 1648. After studying some time under his 
father he went to Rome, and entered the school of 
Carlo Maratti. Aiming at a freer and bolder style, 
he appears to have preferred the works of Pietro 
da Cortona to those of his master. He also painted 
in Naples and Venice, whence he returned to 
Genoa. There is great suavity and a fine impasto 
in his colouring, which a profusion of ultramarine 
has preserved in all its brilliancy. He was much 
employed in easel historical pictures. Two of his 
largest and best works were in the Certosa at 
Polcevera. He died in 1726. 

BADAROCCO, GrusEPPE, who was born at 
Genoa in 1588, became a scholar of Andrea An- 
saldo, under whose tuition he remained some years. 
He was called, from his difficulty of hearing, ‘ Il 
Sordo.’ After leaving the school of Ansaldo he 
visited Florence, where he was so much struck 
with the beauty of the works of Andrea del Sarto, 
that he applied himself with assiduity to the study 
of the pictures of that admirable artist. He proved 
avery good painter of history, and executed several 
works for the churches and public edifices at Flor- 
ence, where he died of the plague in 1657, 

BADENS, Frans, was born at Antwerp in 1571. 
He was the son of an obscure artist, by whom he 
was instructed in the principles of design, but 
he afterwards had the advantage of visiting Italy, 
where he remained four years. On his return to 
the Netherlands he gave ample testimony of the 
advantages he had derived from his studies. Van 
Mander speaks of him in very favourable terms as 
a painter of history and portraits, and says that he 


‘excelled in painting what are called ‘ Conversation 
Several others are at Redgrave Hall, Suffolk. He. 


Pieces.’ His style of design partook of the taste 
he had acquired in Italy, and, like most of the 
painters of his country, he was an excellent colour- 
ist. His works have now entirely disappeared. It 
is supposed that he died at Amsterdam, but the 
year is not recorded. 

BADENS, JAn, was the younger brother of Frans 
Badens, and was also instructed in art by his father. 
He was born at Antwerp in 1576, and following 
the example of Frans, he went to Italy at an early 
period of his life, where he resided several years, 
He afterwards visited Germany, and acquired in 
that country both fame and fortune. Returning to 
his native country, he was robbed and pillaged by 
banditti of all he possessed. This event occasioned 
his death in 1603, at the age of 27. , 

BADESLADE, Tuomas, a landscape artist, 
made many drawings of the country-seats of the 
English nobility and gentry, which were published 
in various county histories between 1719 and 
1750. 

BADIALE, ALEssANnDRO, a painter and engraver, 
was born at Bologna in 1623. He was a disciple of 
Flaminio Torre, and painted several pictures for 
the churches and public edifices at Bologna. He 
was accidentally shot at Bologna in 1668. He 
etched several plates in a slight, free style, from 
the designs of himself and others. He marked his 
prints with the annexed monogram. We BD 
have the following prints by him: 

irgin Mary seated, with the Infant Jesus on her 
sige je aese Philip Neri and St. Anthony of 
Padua; after Flaminio Torre. 

The Holy Family; after the same. 

Christ taken down from the Cross; after the same. 

Madonna with Child, who holds a cross and an apple— 

half-length—after Carlo Cignant. aa 


s » - mae ee a eed *> 


=A 


A BIOGRAPHICAL DICTIONARY OF ss 


BADILE, GrovaNnI, a painter of Verona, flour- 
ished in the first half of the 15th century. A 
signed altar-piece by him of the ‘Madonna and 
Saints,’ in seven compartments, is in the Verona 
Gallery. Records of him exist from 1418 to 1433. 

BADILE, Giovanni ANTONIO, the great-grand- 
son of Giovanni Badile, was born at Verona in 
1480. He was, according to Lanzi, the first of the 
Veronese painters who divested himself entirely of 
the Gothic manner that prevailed before him, and 
was superior to his contemporaries in the expression 
of his heads and the delicacy of hiscolouring. He 
was the first teacher of his nephew, Paolo Vero- 
nese. His pictures of the ‘ Raising of Lazarus,’ in 
the Verona Gallery, and ‘The Virgin and Infant 
in the Clouds, with aN He: Soci so highly 

raised by Ridolfi, are worthy of the in- 
Serine of Paolo Veronese and Zelotti. la 
Badile died in 1560. 

BADOUX, Rosert DB, a native of Brussels, was 
a marine painter and engraver who flourished in 
the first half of the 17th century. He engraved 
some plates for the ‘Académie de |’Hpée,’ pub- 
lished in 1628. 

BAECK, Ettas, of Augsburg, called ‘ Helden- 
muth,’ who was born in 1679, was a painter and 
engraver. He worked for some time in Rome, 
then in Laybach, but finally returned to Augsburg, 
where he died in 1747. His chief works—both 
in painting and engraving — were portraits and 
landscapes. His engravings are sometimes marked 
E. B. a. H. (Elias Baeck, alias Heldenmuth). See 
Meyer’s ‘ Kiinstler-Lexikon.’ 

BAECK, JoHANN GEORG, an engraver of Augs- 
burg, worked from about 1700 to 1729. He 
engraved portraits, of which a great part are men- 
tioned by Heineken. Amongst these are ‘ George 
I.” of England and ‘ Louis XIV.’ of France. His 
mark is J. 5. or B. fe. 

BAEHR, JoHAnNn Kart, who was born at Riga 
in 1801, studied under Matthaei in Dresden, and 
completed his art education by a sojourn in Italy. 
He finally settled at Dresden, and in 1840 was 
made a Professor at the Academy of Fine Art. He 
died there in 1869. Baehr produced, besides many 
portraits, numerous historical works of merit. He 
was also the author of several literary productions. 
The following are some of his best paintings: 


Virgil and Dante. 

The Anabaptists in Munster (lithographed by Hanfstangl, 
and by Teichgraber). 

Iwan the Cruel, of Russia, warned of his death by a 
Finnish Magician (signed and dated 1850); in the 
Dresden Gallery. 

Christ and St. Thomas (at Kiev), 

Christ on the Cross (at Zschopau). 

Portrait of Julius Mosen (lithographed by Hanfstangl). 


BAEN, J. DE, (or Baan). See De BAAN. 

BAENER, JoHANN ALEXANDER, a German en- 
graver, flourished about the year 1670. Among 
other plates he engraved an emblematical subject, 
representing a man kneeling at the feet of another 
man, with a book before him ; and a hand, holding 
a sword, is striking from the clouds at the latter. 
It ‘" executed with the graver in a coarse, heavy 
style. 

BAERSTRAET. See BEERsTRaateEn. 

BAESTEN, Maria, whose maiden name was 
Ommeganck, painted landscapes and cattle. She 
was a member of the Academy at Antwerp in 1784. 

BAGELAAR, Ernst WILLEM JAN, who was born 
at ae in Holland, in 17785, first entered the 

0 


army, but early acquired a liking for the 
and instructed himself in that of etching. He 
acquired further knowledge by travelling through __ 
Germany, and by a stay in Paris. Giving up 
soldiering, he retired to his property at Zon, near 
Eindhoven, where he died in 1837. His etchings, _ 
which are numerous, are executed in imitation of __ 
drawings. Many of them are landscapes from his 
own designs. The style of Jan Luyken had a 
special charm for him, and .,he possessed a con- 
siderable collection of his drawings. The follow- 
ing will show the variety of his subjects: 


Ruth and Boaz; after Luyken. 
Daniel in prayer ; after the same. 
The sleeping Jew; after Rembrandt. 
Portrait of J. W. Pieneman; after J. W. Pieneman. i. 
Portrait of the poet Janus Secundus; after J. van 
Schoreel. >: 
View of Arnheim ; after Schelfhout. 
Sea-piece ; after Van Gotjen. — ' 
Storm at Sea; after L. Bakhuisen. = ae 
A set of six plates of Cows; after A. Cuyp (oneofhis _ 
best works). Nt 
Two Cows; after A. van de Velde. 
A Sheep; after Berchem. 
A Sheep; after Dujardin 


BAGER, JoHANN DANIEL, who was born at Wies- 
baden in 1734, was a fruit and flower painter. He 
worked some time at Frankfort, where he died in 
1815. Two works by him are inthe Stadel Gallery 
in that city. 3 

BAGLIONI, Cssarz. This artist was born at 
Bologna, about the middle of the 16th century ; he 
was the son of an obscure painter, Giovanni Pietro 
Baglioni, from whom he received some instruc- 
tion; but he had the advantage of being a con- 
temporary of the Carracci, and without being a 
disciple of that school, he adopted their style, 
particularly in landscapes, in which he excelled. 
He was a universal artist, and painted history, 
animals, and fruit; in all of which, according to 
Malvasia, he possessed considerable merit. The 
principal works of this master were at Bologna 
and Parma, where they were highly esteemed. In 
the church of the Madonna del Soccorso, at Bologna, 
he painted a picture of the ‘Ascension,’ and in San 
Giorgio an altar-piece, representing ‘St Anthony 
and St. Martha.’ Baglioni was employed in 1610 
by the Duke Ranuccio Farnese at Parma to paint 
the church or oratory of Stirone, dedicated to the 
Blessed Virgin, which was destroyed in 1812. 

BAGLIONI, Cavaliere Giovanni, called ‘Il 
Sordo del Barozzo,’ was born at Rome in 1571, 
and was a scholar of Francesco Morelli. He 
was employed in many considerable works at 
Rome during the pontificates of Clement VIII. — 
and Paul V. In the church of Santa Maria dell’ 
Orto, he painted a chapel in fresco, where he repre- 
sented the ‘ Life of the Virgin ;’ and in San Niccold 
in Carcere there is a fine picture of the ‘ Last 
Supper.’ But his most esteemed performance, 
which now no longer exists, was his picture in St. 
Peter’s, of that Saint raising Tabitha from the 
dead, for which he was made a Knight of the 
Order of Christ by Pope Paul V. He also painted 
a ‘St. Stephen,’ in the cathedral of Perugia, and a 
‘St. Catharine,’ for the cathedral of Loretto. He 
died at Rome in 1644. He was the author of the 
‘Lives of the Painters, Sculptors, and Architects,’ 
who flourished at Rome, from the Pontificate of 
Gregory XIII. until that of Urban VIII., from 
1573 to 1642. 

BAGNACAVALLO. See RAMENGHI. 


172 


_ BAILEY, Joun, designed and engraved the 


i é : illustrations to Hutchinson’s ‘ Histories of Northum- 


4 _ berland and of Durham,’ published between 1778 


and1784. He was afterwards the author of various 


___works on agriculture. 


} 


- engraver. 
low, in 1723, and passed the early part of his life 


BAILLEUL, F. This artist was a native of 
France, and resided in Paris about the year 1722, 
where he engraved some of the plates which were 
published at that time, representing the ceremonies 
of the coronation of Louis XV. 

BAILLIE, ALEXANDER, an engraver, who flour- 
ished about the year 1764, was born in Scotland. 
After practising his art in Rome, he returned to 
Edinburgh, where he engraved a few portraits, and 
where, it is believed, he died. He engraved a 
plate representing a half-length figure of ‘St. 
Cecilia,’ and a ‘Holy Family,’ both after Francesco 
Fernandi, and both signed with his name, and the 
above date. 

BAILLIE, Captain Witiiam. This well-known 
amateur acquired a distinguished reputation as an 
He was born at Killbride, County Car- 


in the army, from which he retired with the rank 
of captain of cavalry. On leaving the service 


Captain Baillie devoted his life entirely to the 
_ arts, and was for many years considered one of 


the most enlightened connoisseurs of his time. 


By this gentleman we have several plates en- 
_ graved in various manners ; but his most admired 


productions are those he executed in the style of 
Rembrandt, and his charming copies after the 
etchings of that master. Hediedin 1810. The 
works of Captain Baillie were published in two 
folio volumes by Boydell, in 1792, entitled, ‘A 
Series of 225 Prints and Etchings after Rembrandt, 


Teniers, G. Dou, Poussin, and others.’ 
The foliowing are the principal, some of 
which are signed with his name, and 
some marked with the cipher annexed : 
Bust of an Old Man, with a gold chain, in the manner 
of Rembrandt; two plates, one without the chain. 
Landscape, with a Stone Bridge, engraved 1764; scarce. 
Landscape, with the Ruins of a Temple, in the manner 
of Claude. 
Portrait of Sofonisba Anguisciola, painter ipsa pinzit. 
Landscape by Moonlight; after A. Cuyp 
The Pen-cutter; after Gerard Dou. 
The Lacemaker; after the same. 
The Mother of Gerard Dou; after the same. 
Susannah justified by Daniel ; after G. van den Eckhout. 
Four Officers, two playing at Trictrac; after Mare 
Geerarts; scarce. 
Portrait of Frans Hals, painter; 7. Hals, pinwit. 
Portrait of Frans van Mieris; after himse(f. 
Peasants saying Grace; after Molenaer. 
A Musical Assembly ; after the same. 
phetivis Duke of Monmouth, on Horseback; after Net- 


scher. 

Interior of a Dutch Chamber, with Peasants regaling ; 
after A. Ostade. 1767. 

Interior, with Peasants smoking and drinking; ~fter 
the same. 1765. 

Christ healing the Sick, commonly called the Hundred 
Guilder Print. The original plate by Rembrandt, pur- 
chased by Captain Baillie in Holland, and admirably 
retouched by him. 

Beggars at the Door of a House; after Rembrandt's 
Stole 

The Gold-weigher; finely copied from Rembrandt’s 
etching. 

The Three Trees; Landscape; after the same. 

An Old Man, half-length, with a Beard and Cap; WV. 

Baillie, 1765; after Rembrandt. 

The Entombment of Christ; two plates varied. 

An Old Man, half-length, with a large Beard, and his 
Hands in the Sleeve of his Robe. 1771 


PAINTERS AND ENGRAVERS. 


Landscape, with a Horse lying ; after Rembrandt's print. 

The Holy Family; after Schidone. 

Interior of a village Alehouse; after Teniers ; fine. 

A Student sitting before a.Table with a Globe and 

Books; after Terboreh. 

William, Prince of Orange, on Horseback; after the 

same. 

Soldiers quarrelling at Dice; after Valentin. 

Three Sea-pieces; after drawings by W. van de Velde, 

BAILLIU, B. and P. pz. See Dr Bartuiv. 

BAILLU, Ernest JosepH, (or BAILLy,) who 
was born at Lille in 1753, studied first in the 
Academy of Ghent, then at Antwerp, and sub- 
sequently at Paris. In 1777 he returned to Ghent, 
and was soon afterwards commissioned by the 
magistracy to paint four portraits of the Emperor 
Leopold II. He also painted a portrait of Maria 
Christina of Austria. In 1792 he gained a prize, 
at the Academy of Ghent, for his ‘didipus Colo- 
neus,’ and in 1811 he received a gold medal for 
an ‘ Allegory on the Birth of the King of Rome;’ 
both of these works he presented to the Society 
of Art and Literature of Ghent. He died in that 
city in 1823. Baillu devoted himself much to 
decorative paintings on walls, wainscots, and fur- 
niture, in which branch of art he became very 
famous. 

BAILLY, Davin, a Dutch painter, was born at 
Leyden in 1584. After studying under Kornelis van 
der Voort, he went in 1608 to Italy. He returned 
to the Netherlands in 1613, having spent some 
time in Germany, both going and coming. He 
painted especially portraits, and sometimes per- 
spective views of the interiors of churches and 
temples. His portraits were esteemed for their 
correct likeness, and they were extremely well 
coloured. His church pieces are much admired, 
though inferior to those of Steenwijck, or Pieter 
Neefs. He was still living in 1661. His works are 
rarely seen in public galleries. A portrait of Maria 
van Reigersbergen, wife of the celebrated jurist 
Hugo de Groot,—signed and dated 1624,—is in the 
Museum at Amsterdam, and a Male Portrait in the 
Gottingen Gallery. He was also an engraver. 

BAILLY, JAcquEs, a miniature painter and en- 
graver, was born at Gracay (Cher) in 1629. He 
etched twelve spirited plates, representing bouquets 
of flowers. His works are very rare. He died in 
Paris in 1679. 

BAILLY, Niconas, son of Jacques, was born 
in Paris in 1659, and died there in 1736. He 
painted landscapes, and etched in a neat manner 
17 views of the environs of Paris. 

BAILY, J., an English engraver, practised about 
the year 1790. He engraved some plates after 
Morland, as well as landscapes and views in aqua- 
tint, in a clever manner. 

BAJARDO, Giovanni Batrista. This painter 
was born at Genoa about the year 1620. It is un- 
certain under whom he studied, but he was a 
reputable painter of history, and executed several 
works for the churches and public edifices at 
Genoa, which are deservedly esteemed, particularly 
those in the portico of San Pietro di Banchi, and 
the monastery of Sant’ Agostino. His compositions 
are judicious, his design graceful, and he possessed 
great facility of execution. According to Soprani, 
he fell a victim to the plague, which visited Genoa 
in 1657, when he was in the prime of life. 

BAKANEL. See BACKEREEL. oN 

BAKER, J., practised as a portrait painter at 
the beginning of the 18th century. He was one 
of Sir Godfrey Kneller’s assistants, and is ee 


A BIOGRAPHIC 
known by his portrait of Sir Stephen Fox, engraved 
by Jean Simon. : : 

BAKER, Joun, an English painter of flowers 
and fruit, born about the year 1736, was, in early 
life, a painter of heraldic ornaments for coaches, 
Afterwards he distinguished himself by the 
brilliancy of his groups of flowers which he con- 
tributed to the Spring Gardens Exhibition. He 
was one of the original members of the Royal 
Academy of Arts, where there is a very creditable 
specimen of his talents. He died in 1771. 

BAKER, Josey, in early life an actor, is men- 
tioned by Walpole as a painter of the interiors of 
churches, both in England and Rome. A view of 
the interior of St. Paul’s, by him, was sold at the 
sale of Sir Mark Sykes’s pictures. He also drew 
York and Lincoln Cathedrals, which were engraved 
by Vivares. He died in 1770. : 

BAKER, Tuomas, who was born in 1809, and died 
in 1869, practised the art of landscape painting in 
water-colour in the midland counties with success. 
He was known as ‘ Baker of Leamington.’ 

BAKEREEL. See BACKEREEL. 

BAKHUISEN, Lupotr, (or BACKHUYSEN,) a 
celebrated painter of sea-pieces and storms, was 
born at Emden in 1631. He was of a respectable 
family, and was intended by his parents for a 
mercantile profession, for which purpose he was 
sent to Amsterdam. His time was, however, 
more occupied in the society of the painters 
than in the counting-house, and he at length 
became a pupil of Aldert van Everdingen, under 
whom he remained some time. He also studied, it 
is said, under Hendrik Dubbels. His fondness for 
shipping led him frequently to the port of Am- 
sterdam, where he made drawings of the different 
vessels. These designs were admirably executed 
with a pen, and were eagerly sought after by 
collectors, who purchased them at liberal prices. 
This encouragement induced him to attempt the 
representation of similar objects in painting. His 
first essays were successful, and his pictures were 
universally admired. He frequently exposed him- 
self to the greatest danger, by hiring fishermen to 
take him out to sea in the most tempestuous 
weather, to observe the forms of the waves mount- 
ing to the clouds and dashing against the rocks; 
and he has represented these scenes with a fidelity 
that intimidates the beholder. His pictures of 
these subjects, though rather dark in colouring, 
have raised his reputation even higher than that of 
W. van de Velde, although the works of the latter, 
which represent. the sea when calm, or in light 
breezes, are much superior. In the latter part of 
his life Bakhuisen amused himself with etching 
some plates of views of shipping on the Y, a small 
arm of the sea upon which Amsterdam is situated. 
He died at Amsterdam in 1708. Bakhuisen is said 
to have given instruction in drawing to Peter the 
Great, when that monarch was studying at Saar- 
dam. He also practised the art of engraving, and 
has left several plates of marine views, and his 
own portrait. His most celebrated works are: 


Amsterdam. Museum. Embarkation of Jan de Witt on the 
Dutch fleet. 

Port of Amsterdam (signed and dated 
1673). 

The Zuider Zee (signed and dated 
1694), and others. 


”? ” 


39 9 


Berlin. Museum, Stormy Sea on a Rocky Coast, 
” _ Slightly Troubled Sea (signed and 
dated 1664). 
Brussels. Juseum. The Tempest. 


72 


DIC 


. +! _ aes : 
ee tae 
Copenhagen. Gallery. Sea-pieces and others : 


Dulwich. Gallery. Boats in a storm (signed and dat 
1696 R . 


Florence. Pitti Pal. A Rough Sea (dated 1669). 


0) 
Frankfort. Stddel. epi the Y (signed and date 
1700). ie ey 

Gallery. Disembarkation of William III. 
England in l’Oranje-Polder (szgned 
and dated 1692). 4. eae b 
Entrance of a Dutch port (signed 
and dated 1693). . ae 
View of the Building Yard of the 
East India Companyat Amsterdam 
(signed and dated 1696). 
London. Jat. Gall. Dutch Shipping (segned and dated — 
1683). Brea bs 2 


Hague. 


8: Six other Sea-pieces. ey 
Louvre. Dutch Squadron (dated 1675). 

* 4 Four other Sea-preces. 
Petersbrg.Hermitage.A Shipwreck. 

= Portrait of an old man. — 
Gallery. Port of Amsterdam. 1674. 

v > Two others. i Penne 
BAKHUISEN, Lupotr, nephew of the great 
marine painter, was born at Amsterdam in 1717, 
and died at Rotterdam in 1782. He wasa good 
painter of horses and battles. His brother GERRIT 
BAKHUISEN practised portrait-painting as an ama- 
teur. He lived at Rotterdam, where he had a tile- 
kiln, to which after his death his brother Ludolf 
succeeded. Aes 

BAKKARELL. See BACKEREEL. 

BAKKER. See BAcKER. 

BAL, CoRNELIS JOSEPH, who was born in Ant- 
werp in 1820, first studied in the Academy there, 
and then went to Paris and formed his style under 
Achille Martinet. In 1848 he won the ‘ Prix de 
Rome,’ and improved his knowledge of art by 
travelling in Italy and elsewhere. On his return 
to Paris he made himself famous by his engray- 
ing of Gallait’s ‘Temptation of St. Anthony.’ On 
the death of Corr, in 1862, he was summoned to 
Antwerp to fill the vacant post of professor to the 
Academy. He died in his native city in 1867. 
Bal received several medals and the order of 
Leopold. The following are his principal engrayv- 
ings: ; 

La Belle Jardiniére ; after Raphael 1856. 

The Montenegrin Woman and her Child; after Czermak. 

The Temptation of St. Anthony; after Gallait. 

Jeanne la folle; after the same. 

The Abdication of Charles V.; after the same (left 

unfinished at Bal’s death). 


BALASSI, Mario, was born at Florence in 1604. 
He was first a scholar of Jacopo Ligozzi, and 
after the death of that master he studied success- 
ively under Rosselli and Domenico Passignano, 
the latter of whom he assisted in the works he 
executed at Rome by order of Pope Urban VIII. 
He copied the ‘ Transfiguration’ of Raphael, for 
Prince Taddeo Barberini, who placed it in the 
Capuchin church at Rome, where it is still to be 
seen. He afterwards accompanied Prince Ottavio 
Piccolomini to Vienna, where he painted the por- 
trait of the Emperor Ferdinand III. On his return 
to Italy he worked in Prato, Florence, and Empoli. 
For the church of Sant’ Agostino, in Prato, he 
painted a picture of ‘St. Nicholas of Tolentino,’ 
one of his best works, and for the Society of the 
Stigmata in Florence, one of ‘St. Francis.’ In the 
Vienna Gallery there is a ‘ Madonna and Child’ by 
him, painted on stone. He died in 1667. 

BALDACCI, Marta MADDALENA, a Florentine 
painter, was born at Florence in 1718, and died 
there in 1782. She executed miniatures and crayon 


? 
Paris. 


99 
Vienna. 


=) 


Rh 


’ 


: 
i 


‘ 


sf 
Bf 


a 


the church Di Schiavonia. 
- now in the gymnasium at Forli, and represents 


Bs! 


a ‘ 


rawings, and ‘among them the portrait of the 


| Empress Maria Theresa. She is represented in 
the Uffizi Gallery by her own portrait. 


BALDASSARE, who worked at Forli about the 


_ year 1354, is supposed to be the author of a frag- 


ment of a series of paintings which once adorned 
That which remains is 


the Adoration of the Magi and figures of SS. Peter, 
Jerome, Paul, Augustin, three figures, and two 
horses, ‘‘creations that do more honour to the 
school of Giotto in these parts than any assigned to 
the artists named by Vasari” (Crowe and Caval- 
caselle, ‘A New History of Painting in Italy,’ 3 
vols. 1864). 

~BALDI, Antonio, a designer and engraver, born 
at La Cava, in the kingdom of Naples, about 1692. 
After having passed some time under Solimena he 
became a pupil of Magliar, to learn the art of en- 


_ graving. He chiefly resided at Naples, and was 


living, Zani says, as late as 1768. He engraved 


several plates, principally from his own designs, 


amongst which are: 


_ The Emperor Charles VI.; oval. 


Don Carlos, King of the Two Sicilies ; oval. 
Nicholas Oyrillus, physician; after S. Cyriilus. 


Maria Aurelia Caraccioli, a Nun; oval. 


_ St. Ignatius Loyola; oval; Ant. Baldi ex Prototypo. 

The Monk Raffaele Manca, with an Angel; oval. 

The Communion of St. Mary of Egypt; A. Baldi, in. 
et sc. 

St. Philip Neri in Heaven; inscribed Cui nomen dedit, &c. 

St. Emilius interceding for the Neapolitans; Divo 

Emigdo in terre, §c. 

St. Gregory, with the subjects of his Miracles, 1738; 

Ant. Baldi, fee. 

BALDI, Lazzaro, was born at Pistoja in 1624. 
He went to Rome when he was very young, and 
became a scholar of Pietro da Cortona. Under so 
able an instructor he became a very eminent artist, 
and painted several pictures for the churches and 
public edifices at Rome, which are particularly 
described by the Abate Titi. In the pontifical 
palace at Monte Cavallo there is a fine picture by 
this master, representing ‘ David and Goliath,’ and 
in the church of St. Luke an altar-piece of the 
‘Martyrdom of St. Lazarus.’ He also worked in 
Camerino, Pistoja, and Perugia. He died at Rome 
in 1703. In the Vienna Gallery there is a picture 
by him of ‘St. Martin, Bishop of Tours, raising 
a dead child,’ which has been engraved by J. 
Axmann. As an engraver, Baldi is known by 
one single work, ‘The Conversion of St. Paul,’ 
marked Lazzerus. Baldus. Pistoriensts. inventt. et. 
excudit. 

BALDINI, Baccio, a Florentine goldsmith and 
engraver, is a master of whom little is known. 
Vasari tells us that he engraved after the designs 
of Botticelli, and that he was a disciple of Maso 
Finiguerra, who is said to have been the inventor of 
engraving in Italy. Nothing has been ascertained 
for certain about Baldini’s life, but it is supposed 
that he flourished from about 1460 to 1485. 
Almost all the writers on the subject agree that he 
worked in conjunction with Botticelli, but as their 
works are executed in the same manner, and bear 
neither name nor monogram, itis almost impossible 
to identify them. The following are some which 
are most frequently attributed to Baldini: 

Plates for the ‘ Monte Santo di Dio.’ 1477. 

Nineteen Plates of Dante’s Inferno, printed at Florence 

by Niccolé Lorenzo della Magna, in 1481. 

Twenty-four of the Prophets. 

Twelve of the Sibyls. 


Pree Lyme 4) tk ee 


PAINTERS AND ENGRAVERS. 


Theseus and Ariadne. 
Designs for jeweller’s ornaments. 


For an exhaustive list of works attributed to 
Baldini, and for a further account of the artist, 
see Meyer’s ‘ Kiinstler-Lexikon.’ 

BALDINI, Pierro Paoto. According to Titi, 
this artist was a native of Rome, and was a dis- 
ciple of Pietro da Cortona. He flourished in the 
middle of the 17th century. He painted historical 
subjects, and several of his works in the public 
edifices at Rome were deservedly admired; among 
others, some pictures in the churches of San Nic- 
colo da Tolentino, and Santa Maria di Loretto; but 
above all an altar-piece representing the ‘ Cruci- 
fixion,’ in the church of Sant’ Eustachio, finely 
composed, and designed with great care and cor- 
rectness. 

BALDINI, Fra Trsvurzio. This painter was a 
native of Bologna, and flourished in the early part 
of the 17th century. It is not said under whom he 
studied; but, according to Averoldo, he painted 
several pictures for the churches and convents at 
Brescia, of which the most esteemed were the 
‘ Marriage of the Virgin with St. Joseph,’ and the 
‘Murder of the Innocents’ in Santa Maria delle 
Grazie. His taste reminds us of the excellent 
school that flourished in 1500—magnificence in the 
architecture, great copiousness of composition, and 
clearness of effect; but in the general tone of his 
tints, and of his flesh, somewhat of a coldness, 

BALDINI, Virrorio, an Italian printer and 
engraver on wood, who, according to Papillon, 
flourished about the year 1600. He died at 
Ferrara in 1618. Among other prints he executed 
the woodcuts for an edition of Tasso’s ‘ Aminta,’ 
printed by him at Ferrara in 1599. He worked for 
the Duke of Ferrara, and for Clement VIII. 

BALDOVINETTI, AtzEsso, was born in 1427 at 
Florence. It is not known who was his master; 
Baldinucci supposes that it was Uccelli. About 
his youth Vasari tells us only that Alesso, being 
desirous to study painting, left the business of 
his father, who was a rich merchant. In 1448 
he was registered as a member of the. Guild of 
St. Luke: ‘* Alesso di Baldovinetti, dipintore.’’ 
There exists a curious note-book by the artist 
(Ricordi di A. Baldovinetti, published by G., 
Picrotti, Lucca, 1868), wherein some of his lost 
pictures are mentioned. Albertini states (‘Me- 
moriale,’ 1510) that Baldovinetti assisted Andrea 
del Castagno and Domenico Veneziano in the 
fresco paintings of Santa Maria Nuova, executed 
between the years 1439 and 1453, but these have 
been destroyed. The following are the only pic- 
tures by the master which are still preserved: In the 
cloisters of Santa Annunziata he painted between 
the years 1460 and 1462 a large fresco representing 
‘The Nativity, with the Adoration of the Shep- 
herds.’ In 1465 he furnished the design for the 
portrait of Dante, painted by Domenico del 
Michelino in the duomo of Florence. In 1470 he 
executed the large panel picture representing the 
‘Holy Trinity adored by the Saints Gualberto and 
Benedict,’ for the altar of the church Santa Trinita, 
now in the Academy at Florence. His wall paint- 
ings, in the choir of the same church, representing 
scenes from the Old Testament, with many portraits 
of distinguished contemporaries, were completed in 
1496, and valued in the following year by the four 
great artists—Gozzoli, Perugino, Filippino Lippi, 
and Rosselli—at 1000 golden florins. ‘These were, 
however, destroyed in 1760. 5 


: fete ore ip 


By ae eo et tL UN ae hs a a 
a3 ‘BIOGRAPHICA u DICTION. 


Baldovinetti is certainly one of the most promi- 
nent masters of the early Florentine Renaissance. 
His chief merits lie in the utmost care with which 
he studied and represented natural objects. The 
extensive views of his landscape backgrounds are 
especially remarkable. But the types of his figures, 
which are taken from common life, are rather un- 
pleasing, nor is his colour harmonious. He aimed 
at finding out a new method of mixing colours. 
Vasari remarks that “ he sketched his compositions 
in fresco, but finished them in secco, tempering his 
colours with a yolk of egg mingled with a liquid 
varnish, prepared over the fire.” Owing to this 
peculiar process, which did not prove to be success- 
ful, his pictures are now in a very bad state of 
preservation. With better success, Baldovinetti 
devoted himself to works in mosaic, which art had 
not been practised at Florence for about a century. 
In 1481 he restored the mosaic picture over the por- 
trait of San Miniato, at Monte, and in the following 
years (1482—1490) the more important mosaics in 
the tribuna and in the cupola of the Baptistery. 
He died at Florence, in the hospital San Paolo, 
August 29, 1499, and was buried in San Lorenzo. 
His best scholar was Domenico Ghirlandajo, who 
afterwards painted his portrait near that of him- 
self in the frescoes of Santa Maria Novella 
(Vasari). Of his works may be mentioned: 


His own Portrait. 

Enthroned Virgin and Child, with 
Six Saints. 

» SS. Annunziata. The Nativity. 

» San Miniato. Annunciation, 


Bergamo. 
Florence. 


Gallery. 
Uffizi. 


J. P.R. 


BALDREY, Joun, an English painter, was born 
about 1750. He exhibited portraits at the Royal 
Academy in 1793 and 1794, and also engraved a 
few portraits, and other subjects, in the chalk style. 
He was living in 1821. Among his best works 
are the following: 


Diana and her Nymphs; after Carlo Maratti. 
The Benevolent Physician; after LE. Penny. 
Lady Rawdon; after Reynolds. 

The Finding of Moses; after Salvator Rosa. 


BALDRIGHI, Giuseprs, was born at Stradella, 
near Pavia, in 1723. After studying for some 
years at Florence, under Vincenzo Meucci, and 
under Boucher in Paris, he was invited to the Court 
of Parma, where he was appointed principal 
painter to the Duke. He established a school of 
painting in that city, which was much frequented. 
One of his most admired productions is a picture 
of ‘Prometheus released,’ in the Academy at 
Parma ; he likewise painted a large picture of the 
family of Philip, Duke of Parma, which gained 
him great reputation. His own portrait is in the 
Uffizi, Florence. He died at Parma in 1802. 

BALDUCCI, Giovanni, called Cosc1, after his 
maternal uncle, was, according to Baldinucci, a 
native of Florence; he was a scholar of Battista 
Naldini. In 1590 he went to Rome, where he 
was taken under the protection of the Cardinal 
Alessandro de’ Medici, afterwards Leo XL, by 
whom he was employed for some time. Several 
of his works are at Rome and Florence. Towards 
the latter end of his life he visited Naples, where 
he painted some ‘pictures for the churches, He 
died there in 1603. 

BALDUCCI, Marreo, a native of Fontignano, 
was an associate of Bazzi between 1517 and 1523. 
ay following year he painted an altar-piece in 


: ; ¥ 
et tes k 


San Francesco di Pian, Castagniano, in 
ata; and works by him are see! 
and churches of Siena. | y 
BALDUNG, Hans, (called GRien or Grt 
bably from his habit of dressing in green,) 
born at Gmiind, in Swabia, between 1475 
1480; he was a painter, engraver, and designer. 
Nothing is known of the youth of this important 
artist, and two altar-pieces in the Convent of 
Lichtenthal, near Baden-Baden, dated 1496, 
thought to be his earliest productions. His firs 
authenticated painting, dated 1501, representing 
the portrait of the Emperor Maximilian, is in the 
artist’s sketch-book, in the Cabinet of Engravings — 
at Carlsruhe. In 1507 he painted the altar-piece — 
of St. Sebastian, lately in the possession of Herr Fr. 
Lippmann at Vienna, and probably also the ‘ Adora- 
tion of the Magi,’ in the Museum at Berlin, — Ss 
very likely that Baldung worked at Nuremberg 
from 1507 to 1509, where he executed under the ~ 
direction of Albrecht Diirer the copies of ‘Adam 
and Eve,’ after that master, in the Pitti Palace 
Florence, and also probably assisted him in other — 
works. In 1509 he removed to Strasburg and — 
bought the freedom of that city; in 1511 he 
went to Freiburg, but according to the chroniclers _ 
stayed subsequently several times at Strasburg, 
where he died in 1545. ‘He was highly esteemed ~ 
by the nobility of his time, especially by th 
Margrave of Baden, and stood on very intimate 
terms with Albrecht Direr. Baldung, though he — 
properly belongs to the Swabian school, exhibits 
in his works a close imitation of the style o 
Albrecht Direr. He shows himself as a mos 
energetic and characteristic artist; he possesse 
an uncommon gift of invention and expression 
but was too capricious and ‘impetuous, and often __ 
too fantastic. His colouring is excellent, except 
in his latest productions, where the carnations are — 
too pale. He painted religious, mythological, and _ 
allegorical subjects, and portraits. It may here be 
added that, if the altar-pieces at Lichtenthal are 
really by him, there is sufficient proof that he 
studied first the works of Schongauer. His chef- 
d’ceuvre is an altar-piece in the cathedral of Frei- 
burg; it bears the inscription, JoANNES BALDUN 
Cog. GRIEN GAMUNDIANUS DEo ET VirTUTE AUSPI 
ciBuS Faciepat 1516. It represents the ‘Corona 
tion of the Virgin,’ on the inside wings the 
‘Twelve Apostles,’ and on the outside the ‘ Visita- _ 
tion,’ the ‘ Flight into Egypt,’ the ‘Nativity,’ and — 
an ‘Annunciation,’ which Kugler attributes to — 
another painter. ne: 
His designs, distinguished for their excellent — 
conception and a surety of hand reminding us of 
Albrecht Diirer, are to be met with at Basle, Berlin, _ 
Carlsruhe, Copenhagen, Florence, Hanover, Lon- — 
don, Paris, and Vienna. ie 
As an engraver on copper, he was not very 
excellent in the technicalities. The following plates — 
may be mentioned: : : 


The Man of Sorrows. 

The Groom, considered his best; an etching. 
An old man kissing a girl; an etching. 1507. 
St. Sebastian. 


> 


He was, however, more excellent as a draughts- _ 
man on wood. What has been said of his paintings 
may be repeated for his woodcuts; at present we 
know over 60 prints by him, which are ee 
signed with very different monograms, 


sometimes the two letters H. B. united. 


ALE SSO_BALDOVINE TEI 


Anderson photo| GHETTO [ Ufizt Gallery, Florence 
TION 


Adam and Eve in Paradise, Eve plucking the Apple. 
_ The Fall of Adam; inscribed on a Tablet, Lapsus hu- 
mani generis. 1511. 
oe and the Twelve Apostles; in thirteen plates. 
18. ae ' 
The Crucifixion, with St. John supporting the Virgin, 
and Mary Magdalene behind the Cross; fine, in 
chiaroscuro. 
— tions to the Ten Commandments. 1516, 1518, 
1 


St. Sebastian, two different prints. 1512 and 1514. 

A Pieta. 

Silenus drunk, near a Tun: Cupid insulting him. 

An Incantation; in chiaroscuro. 1510. 

Two Landscapes; very scarce. 

The Groom and the Sorceress; no date. 

Four small upright prints—Solomon’s Idolatry ; Samson 
and Delilah; David and Bathsheba; and Aristotle 
and Phryne. Very fine. 

_ The Holy Family, with St. Elisabeth and St. Catharine; 
half length. 1512. 
aes of Horses in a Forest; marked Baldung. 


The Fates. 

The two mothers, called the ‘ Kinderaue.’ 

Phyllis riding on Aristotle. 

The portrait of Luther. 

The portrait of the Margrave of Baden. 

The Virgin with St. Anna, both holding the Infant 
Christ; St. Joseph, St. Joachim behind. A large 
print. 

The following are his most important paintings: 


Aschaffenburg. Gali. Christ on the Cross. 
* os Joseph and Mary adoring the 
Infant Christ. 
Basle. Gallery. Death and a Woman. 
Berlin. - Museum. Christ on the Cross. 152—. 
4, Christ on the Cross. 1512. 
Triptych. Adoration of the Kings 
—SS.George and Maurice on the 
wings, and SS. Catharine and 
Agnes ou the exterior. 1507. 
Stoning of St. Stephen. 1522. 
‘Noli me tangere.’ 1539. 
Heavenly and Earthly Love. 


2? ” 


Darmstadt. Gallery. 
Frankfort.  Stddel. 


Freiburg. Cathedral. Altar-piece (see text). 
Munich. Pinakothek. Portrait of the Margrave Philipp 
Christoph of Baden. 1514. 
Schleissheim.Gallery. Portrait of the Margrave Philipp 
, Christoph of Baden. 1515. 
i’ ® Vienna, Gallery. Portrait of a young man. 1515. 
gg “ = His own Portrait—clothed in 


green. 
W. B.S. 


BALECHOU, Jzan J OSEPH, a celebrated French 
engraver, was born at Arlesin 1719. He studied 
first under a seal-engraver named Michel at Avig- 
non, and afterwards under Lepicié in Paris: 
but, compelled to leave that city, he returned 
to Avignon, where he died in 1764. Baléchou 
carried the handling of the graver, as far as 
regards the clearness of the strokes and brilliancy 
of colour, to a higher perfection than any engraver 
of his country that had practised the art before 
him; and if neatness of execution were the greatest 
merit of a print, few artists would have an equal 
claim to distinction ; but if the excellence of the 
plate consists in expressing the effect produced by 
the painter, and in giving the true design, and, if it 
may be so expressed, the colour of the picture, 
his pretensions to superiority will be considerably 
diminished. Notwithstanding the fascination of 
his execution, it will be admitted by every judicious 
observer, that his flesh appears like marble, and 
that the deficiency of his drawing incapacitates 
him from giving the true effect of the style and 
character of the painter. This defect, it must be 
confessed, is most discernible in his historical 


4 Pee ee See 


PAINTERS AND ENGRAVERS. 


prints and some of his portraits; and it will be 
admitted that his three plates after Vernet are 
among the fine productions of the graver, although 
they have been so much surpassed by our own 
incomparable Woollett. The following are his most 
important works : 

PORTRAITS. 


Anne Charlotte Gauthier de Loiserolle, wife of J. A. 
Aved; after Aved. 

William IV., Stadtholder of the Netherlands, when 
Prince of Orange; after the same. 

Prosper Jolyot de Crébillon ; 1751; after the same ; fine. 

Jacques Gabriel Grillot, abbé de Pontigny; after 
Autreau. 

Charles Rollin; 1741; after C. Coypel. 

Charles Porée, Jesuit; after Neilson. 

Heinrich, Count von Briihl; after L. Silvestre; fine ; but 
it must be before the name of Baléchou, as it was ill 
retouched. 

Jean de Jullienne, director of the Gobelins; 1752; 
after De Troy. 

Madame Jullienne; after the same. 

re eoeP, Infanta of Spain, Duke of Parma; after 

aly. 

Charles Antoine Coypel, painter; after himself. 

Augustus III., King of Poland ; after Rigaud ; the first 
impressions are very fine; the plate was afterwards 
much altered 

SUBJECTS AFTER VARIOUS MASTERS. 

Infancy and Youth ; two fancy subjects; after D. Bardon. 

Five fancy subjects; after E. Jeaurat. 

La Terre; the Portrait of Louisa Elizabeth of France, 
Duchess of Parma; after Nattier. 

St. Geneviéve; after C. van Loo. 

The Storm; after Vernet (his chef-Wewvre). 

The Calm; after the same. 

The Bathers; after the same. 

BALEN, HENDRIK VAN, who was born at Ant- 
werp in 1560, is said to have been instructed in 
the art by Adam van Noort, who was also the 
master of Rubens. On leaving that school he went 
to Italy, where he studied some years, and painted 
several pictures which were greatly admired. On 
his return to Antwerp he was so much employed 
that it was with difficulty he could satisfy the 
demand for his works. In 1593 he was received 
into the guild of St. Luke, and in 1609-10 he was 
dean. Balen was one of the first of the Flemish 
painters who succeeded in that purity of colour, 
which was afterwards carried to such perfection 
by Rubens and Van Dyck. In his cabinet pictures 
he generally made choice of very agreeable sub- 
jects, and frequently represented the ‘ Metamor- 
phoses’ of Ovid, in which the landscapes were 
generally painted by Jan Brueghel, and the animals 
sometimes by Snyders, who with Van Dyck was a 
pupil of Van Balen. His works of this description 
were extremely popular, and were placed in the 
choicest collections. He did not, however, confine 
himself to works of a small size, but painted, with 
less success however, many pictures for the churches. 
In the cathedral at Antwerp there is a fine altar- 
piece by him. The centre piece represents the 
‘Virgin Mary, with the Infant Saviour and St. John ;’ 
and on the two folding-doors, which are now in 
the Antwerp Gallery, a ‘Choir of Angels.’ For 
another altar in the same church he painted ‘St. 
John preaching in the Wilderness,’ also now in the 
Antwerp Gallery; well composed and admirably 
coloured. Van Balen occasionally painted figures 
in the landscape pictures of other artists. He died 
at Antwerp in 1638 (or 1632). The following are 
some of the best of his works; they frequently 
occur in the continental galleries, but he is un: 
represented in the National Gallery: ne 


| 


Amsterdam, Bacchus and Diana, Berlin, The Work- 
shop of Vulcan (part by Jan Brueghel). Brussels, 
Plenty (part by Brueghel). Cassel, Diana and Actzon. 
Dresden, Diana and her Nymphs surprised by 
Actzeon; Bacchus and Ariadne (signed). Hague, 
Offering to Cybele. Munich, A Bacchanalian Scene ; 
The Feast of the Gods. Paris, A Feast of the Gods 
(signed). Petersburg, Repose of the Holy Family ; 
Virgin and Child. Vienna, Jupiter and Huropa. 


BALEN, JAN VAN, the son of Hendrik van 
Balen, was born in 1611 at Antwerp, and was 
instructed by his father. After having made con- 
siderable progress in the art, his father sent him to 
Italy, where he had himself derived such advan- 
tage from his studies. He remained some years 
at Rome, and appears to have attached himself to 
the works of Francesco Albani, whose charming 
style he has imitated without attending to his 
purity of design. He returned to Antwerp in 
1642, and died there in 1654. In all his pictures 
the style of his country is discernible ; although 
his colouring is excellent, and his pencil free and 
flowing, we have always to regret his want of 
taste, and his inattention to the correctness of his 
outline, He had two brothers, Gaspar (born in 
1615) and Henprik (born in 1620), who were both 
painters, 

BALEN, MArtuiss vAN, who was born at Dor- 
drecht in 1684, studied under Arnold Houbraken, 
and became a good painter of historical pieces, 
landscapes, and portraits; he also practised the art 
of engraving. He died in his birthplace at a great 
age. The Darmstadt Gallery has a ‘Holy Family’ 
in a Landscape attributed to him. ) 

BALESTRA, AnrTonio, was born at Verona in 
1666. He was first instructed in art by Giovanni 
Zeffio ; but at the age of 21 he went to Venice, 
and became the scholar of Antonio Bellucci. 
After passing a short time with this master he 
went to Bologna, where he remained some time, 
and afterwards visited Rome, where Carlo Maratti 
was then in high reputation. He attended the 
school of that master, gained the prize at the Aca- 
demy of St. Luke in 1694, and was employed to 
paint several pictures for the churches and palaces 
at Rome. He subsequently resided for many years 
in Venice, and died at Verona in 1740. His style 
bears some resemblance to that of Carlo Maratti, 
and his works are held in considerable estima- 
tion. He selected the best points from every 
school, uniting a variety of beauties in a style of 
his own, which partakes least of all of the Vene- 
tian, though he taught in Venice. He promoted 
the reputation of that school both by his lectures 
and example, and left two excellent imitators in 
his scholars Mariotti and Nogari. In the church of 
Sant’ Ignazio at Bologna is a picture by this master, 
representing the ‘ Virgin and Infant, with St. Igna- 
tius and St. Stanislaus.’ The churches of Venice, 
Vicenza, Padua, Brescia, and Verona also possess 
examples of his art. Balestra etched some plates 
from his own designs in a free, masterly style: 
these are sometimes marked with his name at 
length, sometimes with a cipher. We have by 
him, amongst others : 

The Sketch of the Head of a Warrior. Two Soldiers. 
The Virgin Mary and Infant in the Clouds, with St. 
John ; inscribed Mater pulchre dilectionis ; Antonius 
Balestra in. et fecit: 1702. A Vignette, with two 
figures holding a Flag; Verona fidelis. Portrait of 
Michele Sanmicheli. 


BALESTRA, Giovanni, an Italian engraver, 
76 


A BIOGRAPHICAL DICTIONARY 


oN y m2 
was born at Bassano in 1771. : 
Count Remondini, and in 1803 went to Rome, 


He studied-amiler a 


i. 


+ 
& 


where he remained until his death, which took — a 
place in 1843. Among his principal works are: 


Christ and the Samaritan Woman at the Fountain; 


after Garofalo, The Penitent Magdalene; after 
Madonna del Rosario; after Sassoferrato. 


Murillo. 
Aurora and Cephalus; after Annibale Carracet. 


BALLANTYNE, Jonn, son of Alex, Ballantyne, 


and a member of the celebrated family of Scotch — q 


painters. He exhibited his first picture at the 
Royal Academy when quite young. He occupied 


much of his time by copying Old Masters in the 


principal Galleries on the Continent, and he also 


executed a series of portraits of celebrated painters 
in their studios, one of which, that of Sir Edwin 
Landseer, was presented to the National Gallery 
by Sir H. Agnew. He was elected a member of 
the Royal Scottish Academy in 1845, and died in 
1897. | ‘ 
BALLENBERGER, Kart, who was born at 
Ansbach in 1800, went to Munich as a stone-mason 
in 1831, and was there instructed in drawing by Fr, 
Hoffstadt, and subsequently attended the Academy. 
He established himself at Frankfort, and became 
very intimate with Philipp Veit. He followed the 
romantic style of his time, and studied with the 
greatest perseverance old German art. His chief 
paintings are the portraits of Conrad I., Louis 
of Bavaria, and Rupert of the Palatinate, in the 
Imperial Hall of the ‘Romer, at Frankfort. He 
etched a plate of the arms of artists. His ‘ Death 
of St. Meinrad’ has been engraved by H. Niisser. 
He died at Frankfort in 1860. 

BALLI, Simons, a Florentine artist, who, not 
being duly appreciated in his own city, went to 
Genoa and practised under Pazzi. His style 
resembled that of Andrea del Sarto. In addition to 
his pictures for the churches of Genoa, he painted 
small works on copper. He flourished about 1600, 
and died at an advanced age. : 

BALLINI, Camit10, the son of Gaspare Ballini, 


a goldsmith at Venice, and pupil of Jacopo Palma. 


‘the younger,’ flourished, according to Zani, about 
the latter part of the 16th century: he was both a 
painter and engraver. Lanzi says he painted in 


Venice in the age of the Mannerists ; Zani speaks — 


of him as an artist of talent, and Lodovico 
Dolce commends him for his application and 
assiduity. Numerous decorative-paintings by him 
are in the Doge’s Palace at Venice. 

BALLIU, P. pz, (or Bartiiv). See Dr BAILLIv. 

BALMER, GrorGs, the son of a house-painter, 
was born at North Shields about 1806. He was 
brought up as a decorator, and, while young, 
practised at Edinburgh. Always fond of art, he 
found time to contribute to an Exhibition of 
Water-Colour Drawings in Newcastle in 1831, and 
afterwards assisted W. J. Carmichael in painting 
the large picture, ‘The Heroic Exploit of Admiral 
Collingwood at Trafalgar,’ now in the Trinity 
House at Newcastle. Soon afterwards, Balmer 
visited Holland, the Rhine, and Switzerland, stay- 
ing on his way home at Paris, where he studied 
the masterpieces in the Louvre. On his return he 
settled in London, and for several years exhibited 
pictures of the Rhine, coast scenes, and moon- 
light views. In 1836 he suggested to the Findens 
the publication of a work on ‘ The Ports and Har- 
bours of Great Britain,’ for which he made many 
drawings. Soon after he came into property, and 
in 1842 retired to Ravensworth, in the county of 


Durham, where he died in the prime of life in 
April, 1846. 
BALTARD, Lovis Pierre, a French architect, 


’ geod and erigraver, was bornin Paris in 1764. 


e occupied himself first with landscape-painting 
and engraving, and was instructed in architecture 
by Peyre the younger. In 1786 he went to Rome 


fortwo years; in 1792 he designed decorations for 


the Opera at Paris. Soon after he was made pro- 


ie _ fessor of architecture at the Polytechnic School, 


and subsequently at the Ecole des Beaux-Arts. 
He died in Paris in 1846. He executed part of 
the plates for the ‘Expedition to Egypt,’ and 
began to publish at the same time, in 1803, his 
‘Paris et ses Monumens.’ The work was left 
unfinished with the 25th part on account of the 
— expense. His plates are of a light and pure 
esign: among them may be mentioned : 
Des Monuments antiques de Rome, 48 plates; 1806. 
Galerie frangaise des productions de tous les Arts, 
14 parts. La Colonne Vendéme, 145 plates; 1810. 
Essai méthodique sur la décoration des monuments, 
120 plates; 1817. Portrait of N. Poussin. 
BALTHAZAR, Domenico. See Dre CosTERE. 
BALTHAZAR, Pieter, (BALTENS, or BALTEN.) 


_ See Dr CosrEre. 


BALTZ, J. Groreaes, a painter of miniature 


portraits and landscapes on porcelain, was born at 


Strasburg in 1760. He died in Paris in 1831, 
BALZAC, Caries Louis, who was born in 

Paris in 1752, was an architect and architectural 

draughtsman. He made many drawings for De- 


~ non’s work on the monuments of Egypt, and also 


views of various interesting Egyptian buildings, 
such as the interior of the Mosque at Hassan, the 
Palace of Karnac, the Great Sphinx, and the 
Pyramids of Ghizeh. Balzac died in Paris in 1820. 

BALZE, Pav. JEAN, enamel painter, born at 
Rome of French parents in 1815, was a pupil of 
Ingres. He was best known by copies made in 
conjunction with his brother Raymond Joseph, of 
Raphael’s frescoes in the Vatican, a work on which 
he was engaged ten years. He also worked for 
Parisian churches. He died in 1884. 

BALZER, JoHANN, a Bohemian engraver, was 
born at Kukus, in Bohemia, in 1738. He was 
first instructed in art by Rentz, but subsequently 
completed his education by travelling through 
Germany, where he visited several Academies. 
He chiefly resided at Prague, where he produced 
numerous works, mostly portraits, and died in 
1799. He left-two sons, ANTon (1771—1807) and 
JOHANN Kart (1771—1805), who were both en- 
gravers. In conjunction with his brothers MATHIAs 
and GrReEGoR, and his son Johann Karl, Johann 
Balzer engraved and published several works ; 
amongst which are the following: 

A set of fifty plates of Landscapes and Architectural 
subjects, with Biblical, mythological, and genre groups 
of figures; after Norbert Grund, an old German 
painter. 

Two sets of Portraits of Artists and Learned Men of 
Bohemia and Moravia; published at Prague in the 
years 1773 to 1782 (ninety plates). 

BAMBERGER, FRriepricu, born at Wirzburg 
in 1814, was instructed in the principles of paint- 
ing at Dresden; he afterwards visited the Aca- 
demy at Berlin, and became a disciple of Krause, 
a painter of marine pictures, and at Cassel of 
Primavesi, an engraver. In 1832 he went to Munich, 
where he became acquainted with Rottmann, whom 
he subsequently followed in his landscapes, with 
great success. In 1845 he visited Normandy and 


PAINTERS AND ENGRAVERS. 


England, and one of his best paintings of that 


time is the ‘ Battle-field of Hastings, with a view of 


the sea.’ After a first journey to Spain he settled 
at Munich, but subsequently paid two more visits 
to that country. Many of his Spanish landscapes 
were highly esteemed, but he did not possess the 
capacity of producing great effects. Several of his 
productions are in the Pinakothek and the Schack 
Gallery at Munich. His drawings and studies are 
of especial merit. He died at Neunenhain, near 
Soden, in the Taunus, in 1873. 

BAMBINI, Giacomo, who was born at Ferrara 
about 1582, was a scholar of Domenico Mona. 
There are many of the works of this master in 
the churches and other public edifices in his native 
city. In the cathedral are three altar-pieces, re- 
presenting the ‘Annunciation,’ the ‘ Flight into 
Egypt,’ and the ‘Conversion of St. Paul.’ He 
died at Ferrara in 1622 or 1628. A particular 
account of his other works will be found in 
Barotti’s Patture e Scolture di Ferrara. 

BAMBINI, Cavaliere Nicconé, was born at Venice 
in 1651, and first studied under Giulio Mazzoni at 
Venice; but afterwards went to Rome, where he 
became a scholar of Carlo Maratti. According to 
Lanzi, he was a correct and elegant designer, with 
a chaste and simple principle of colouring. Some- 
times he designed in the taste of the Roman school, 
as in his picture of San Stefano, painted soon after 
his return from Rome; and at others he imitated 
the style of Liberi, particularly in the beauty of 
his female heads. He died at Venicein 1736. He 
had two sons, GIOVANNI and STEFANO BAMBINI, 
who painted in the style of their father. 

BAMBOCCIO. See Laar, PIETER VAN. 

BAMESBIER, JoHANN, a portrait painter, of 
German extraction, was a disciple of Lambert 
Lombardus. He was born in 1500, and died in 
1598, at Amsterdam. 

BAMPFYLDE, CopLestone WapkRz, a well-known 
amateur, of Hestercombe, Somersetshire, was the 
only son of John Bampfylde, M.P. He was an 
honorary exhibitor of landscapes at the Academy 
towards the end of the 18th century, and a few of 
his works have been engraved by Vivares and 
others. He died in 1791. 

BANCHERO, ANGELO, was born in 1744 at 
Sestri, near Genoa, and went to Rome and studied 
painting under Pompeo Batoni. On his return he 
executed various pictures for the churches of 
Genoa. Especially noticed is a ‘ St. John in Prison,’ 
painted for his native Sestri. Banchero died in 
1793. 

BANCK, VAN DER. See VAN DER BANOK. 

BANCKS, CHARLES, (or, as he usually wrote it, 
BANKS,) was a Swiss by birth, but settled in 
England in 1746, while still young. He practised 
the art of miniature painting, and occasionally 
exhibited at the Royal Academy in the latter part 
of the 18th century. 

BANDIERA, BENEDETTO, was born at Perugia 
in 1557. From the resemblance of his works to 
those of Federigo Barocci, it is supposed he was 
a disciple of that master. He painted history, 
both in oil and in fresco, and his pictures were in 
considerable repute. He died in 1634. 

BANDINELLI, Barrotommeo, or BAccio, was 
born at Florence in 1493. He was a very dis- 
tinguished sculptor; and if he was not so success- 
ful as a painter, he is yet entitled to our notice 
from the grandeur of his design, although he did 
not succeed equally well as a colourist. Bria 


a2 a 7 ‘ 


5 


A BIOGRAPHICAL DICTIONARY O 


extremely jealous of the fame of Michelangelo, and 
was ambitious of excelling in both arts, in imita- 
tion of that great master. But it is seldom that 
human nature is endowed with the faculties of 
that illustrious artist, and it is probable that what- 
ever merit Bandinelli possessed as a painter, was 
deprived of the tribute to which it might be 
entitled, by being brought into the lists against so 
gigantic an adversary. His principal works, as a 
painter, were the ‘Murder of the Innocents,’ en- 
graved by Marco da Ravenna, and the ‘ Martyrdom 
of St. Laurence,’ engraved by Marc-Antonio. He 
died at Florence in 1560. A series of Studies of 
Animals by Bandinelli is in the Louvre, Paris. 

BANKS, Cuartes. See BANcKs. 

BANNERMAN, ALEXANDER, was born at Cam- 
bridge about the year 1730. He engraved several 
of the portraits for Walpole’s ‘Anecdotes of Paint- 
ers,’ and some plates for Boydell’s collection, 
among which are: 

Joseph interpreting Pharaoh’s Dream; after Spagnoletto. 

The Death of St. Joseph; after Velazquez. 

Children Dancing; after Le Nain. 

He was living at Cambridge in 1770, but the 
date of his death is unknown. 

BANNOIS, —. Strutt mentions this artist as 
the engraver of a portrait of Queen Elizabeth of 
England. 

BAPTIST, Jacos. This artist, a native of 
Deutekom, probably of French extraction, resided 
at Amsterdam about the year 1720. He engraved 
principally book-plates, the best known of which 
are the plates for the ‘ Histoire du Vieux et du 
Nouveau Testament,’ from the designs of Goerée 
and others, published by Mortier at Amsterdam 
in 1700. They are executed in a very indifferent 
style. 

BAPTIST, Jan Caspar, a native of Antwerp, 
was a scholar of Thomas Willeborts. He visited 
England during the civil war, and was much em- 
ployed by General Lambert. After the Restora- 
tion he became an assistant to Sir Peter Lely, 
and afterwards to Sir Godfrey Kneller. He drew 
well, and excelled in making designs for tapestry. 
The portrait of Charles II. in the hall of the 
Painter-Stainers’ Company, and that of the same 
king in the hall of St. Bartholomew’s Hospital, 
were painted by him. He died in London in 
1691. 

BAPTISTE. See Monnoyer. 

BAQUOY, Jean CHARLES, the eldest son of Mau- 
rice Baquoy, was born in Paris in 1721. He en- 
graved book-plates after the designs of Hisen, 
Gravelot, Moreau, and others, among which are a 
set of vignettes for the French translation of 
‘Ovid’s Metamorphoses,’ published by Basan, which 
are executed in a finished style, and a set of plates, 
after Oudry, for the Fables of La Fontaine. He 
also engraved after Boucher, Watteau, J. Vernet, 
Wouwerman, and other masters. He died in 
Paris in 1777. 

BAQUOY, Mavricr, a French engraver, was 
born about 1680, and worked in Paris from 1710 
to 1740. He engraved a set of vignettes for the 
‘ Histoire de France,’ by Gabriel Daniel, from the 
designs of Boucher. We have also by him a set 
of landscapes and views, and a naval combat, after 
P. D. Martin, the younger—one of the four large 
battle-pieces after Martin engraved at Paris for 
the Czar, Peter the Great. Baquoy died in 1747. 

BAQUOY, Pierre CHARLES, the son and pupil of 
Jean Charles Baquoy, was born in Paris in 1759. 

78 


Besides a variety of book-plates, which are very 
neatly executed, we have by him several prints 
after French painters. He died in Paris in 1829. 
For complete lists of the works of the Baquoys — 


, 
ae 
eg 


see Meyer’s ‘ Kiinstler-Lexikon.’ 


BAR, BoNAVENTURE DE, who was born in 1700, - 
painted after the manner of Watteau. He became — 
a member of the Academy at Paris in September - 
1728, or December 1727, and his reception painting, __ 
He died in 


a ‘ Féte Champétre,’ is in the Louvre. 
1729. 
BAR, JAcQUES CHARLES, a French engraver, 


published, in 1778, a series of coloured plates of 


the costumes of military and religious orders. 


Besides these he executed several prints, after C. 


N. Cochin, fils, and one called ‘The Village Bath,’ 
in colours, in conjunction with Chatelet. He 
worked in Paris from 1777 to 1800. 


BARA, Jan, (or BARRA,) a Dutch engraver, who — 


was born about the year 1574. He came to Eng- 
land, and died in London in 1634. Meyer's 
‘Kinstler-Lexikon’ erroneously confounds him 
with Johannes de la Baer, a Flemish glass-painter, 
who was still living in 1659-60. He appears to 


have imitated the style of the Sadelers, but he by 


no means arrived at their excellence. His works 
bear date from 1598 to 1632, and among them are 
the following : 

PORTRAITS. 


Christian II., Elector of Saxony. 1605. 

Prince Maurice of Nassau-Orange. 

Joachim, Count of Ortenburg. 

Louis, Duke of Richmond and Lennox; after Paul 
van Somer. 1624. 

Henrietta Maria, Queen Consort of Charles I. 


VARIOUS SUBJECTS. 


Bust of a Man, with two allegorical figures representing 
Painting and Science. 1622. 

A Landscape, with Phaéton demanding of Apollo the 
conduct of his Car; Jo. Barra fe. 

The History of Tobit ; after Zappom ; four plates, 

Christ and the Apostles; after Joost van Wingen; 
thirteen plates. : : 

Christ and His Disciples going to Emmaus; 
barra fe. 

A Landscape, with Susannah and the Elders; Joh. 
Barra fecit Londint, 1627. 

The Five Senses ; Johannes Barra fe.; five plates. 

The Seasons ; after P. Steevens ; four plates. 

Susannah and the Elders ; after H. Goltzius. 1598. 

Bathsheba bathing ; after G. Weyer. 

The Parable of the Sower; after A. Bloemaert. 

Herodias, with the Head of St. John the Baptist ; after 
Johann von Aachen. 

Twelve plates of Grotesque Ornaments ; after Wicasius 
Rousseel, marked Johan: Barra: sculp. Londiniy. 
1623. ¢ 


Joann 


BARABBINO, Simone, was born at Polcevera, 
near Genoa, about the year 1585, and was a dis- 
tinguished scholar of Bernardo Castello. His 
extraordinary talent alarmed the jealousy of his 
instructor to such a degree that he expelled him 
from his Academy. He soon afterwards painted a 
picture of ‘St. Diego,’ for the Nunziata del Guas- 
tato, which Soprani considered equal in merit to 
the work of Castello. Not meeting with the en- 
couragement he merited at Genoa, he established 
himself at Milan, where he received the tribute 
due to his ability, which his fellow-citizens had 
denied him. One of the finest works of this 
painter is the ‘Dead Christ with the Virgin, St. 
Michael, and St. Andrew,’ in the church of San 
Girolamo at Milan. lLanzi says he quitted his 
profession and turned to merchandise, in which 


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| he did not succeed, and that he died in prison. 


} He must have been quite old when he died, as Zani 


says he was living in 1664. 

BARABE, —, a French architect and engraver, 
a native of Rouen, flourished about the year 1730 
at Paris and Versailles. He engraved prints of 
architectural subjects, and was one of the first to 
work in aquatint. 

-BARATTA, Antonio, (or Barartt,) an Italian 
designer and engraver, was born at Florence about 
the year 1727. He engraved several plates for a 
volume of prints from pictures in the collection of 
the Marquis Gerini, published at Florence in 1759. 
' He also engraved, among other portraits, that of 
| a painter Giovanni Bettini Cignaroli, after Della 

osa. : 

BARBALONGA, Antonio, a member of the 
noble family of the Alberti, is often confused 
with Antonio Ricci. He was born at Messina 
in 1600, and was there instructed in painting by 
Simone Comandé. He went to Rome, where he 
_ became a disciple of Domenichino, whose style 
he imitated with great skill. He executed a great 
number of paintings for churches, his chief work 


_ being the ‘Conversion of St. Paul,’ in the convent 


church of St. Anna at Messina; others are to be 
met with at Rome, Palermo, and Madrid. He died 
at Messina in 1649. 

BARBALONGA, Antonio. See Ricci, ANTONIO. 

BARBALONGA, Juan pg. See VERMEIJEN. 

BARBARELLI, Gioreto, (or BARBARELLA.) See 
GIORGIONE. | 

_BARBARINI, Franz, an Austrian artist of 
Italian origin, was born at Znaim in 1804. He 
“excelled as a painter of landscapes and as an en- 
graver. He studied at Vienna, under Jos. Kem- 
pel, a sculptor, but devoted himself afterwards to 
landscape painting, in oil and water-colour, in 
which branch he improved himself by visiting 
Salzburg, the Tyrol, and Switzerland. He died 
at Vienna in 1873. Among his etchings may be 
mentioned : 

A Mountainous Region in Austria. 

The Country-house. 

On the Road to Schonbrunn. 1827. 

The Must Waggon, 1827; after J. A. Klein. 

The Saddled Horse ; after the same. 

The Country of the Bernese Oberland; after Ville- 


neuve. 
A series of 17 landscapes ; after Rothmiiller. 


BARBARJ, Jacopo DB’, called also JAcoB WALCcH, 
and the ‘ Master of the Caduceus,’ was born at Ve- 
nice about 1450, and was working at the beginning 
of the 16th century. The history of this master 
has long been a matter of dispute among critics. It 
now seems satisfactorily established that Barbarj 
and Walch, who were formerly considered as two 
different artists, were really the names of the same 
master, who was simply called Walch (that is, a 
foreigner ), in Germany, because of his Italian birth. 
The evidence for this birth rests chiefly on a state- 
ment made by Diirer in a MS. preface to his 
‘Book of Human Proportions,’ preserved in the 
British Museum. He speaks in this of “a man 
named Jacobus, born at Venice, a delightful 
painter,” who showed him, when he was quite 
young, a figure of a man and a woman, drawn to 


_— gseale, which greatly delighted him, and ‘‘ moved 


‘him to try to arrive at like results.” When Direr 
went to Venice in 1506 he mentions in one of his 
letters that Jacopo was not there, and indeed it 
is generally believed that in this year he accom- 


PAINTERS AND ENGRAVERS. 


panied Count Philip of Burgundy to the Nether- 
lands, stopping on the way at Nuremberg. M. 
Emile Galichon, who was the first to throw light 
on the history of this master, supposes that he 
first went to Nuremberg at this date ; but an earlier 
residence there of some length is more probable, 
considering that Walch is mentioned by Neudorffer, 
the historian of the Nuremberg artists, as belong- 
ing to that town. He says also that Hans von 
Kulmbach was his pupil. M. Ch. Ephrussi, in his 
recent monograph on Barbarj, considers that he 
resided in Nuremberg between the years 1494 and 
1500, and even an earlier date may well be sur- 
mised. But some time before 1500 Barbarj must 
have been back in Venice, for at that date he 
executed an immense plan or bird’s-eye view of 
that city, which was engraved on wood, and pub- 
lished by Anton Kolb, the head of the German 
merchants settled in Venice. After his journey to 
the Netherlands we lose sight of him, until his 
name appears in 1510 in the accounts of Margaret, 
Regent of the Netherlands. He is here called 
“Valet de chambre and Court-painter” to this 
princess, and it is recorded that a sum of seventy- 
six livres and six deniers was paid to him in 
order that he might buy a velvet doublet and a 
robe lined with lamb’s-skin. In 1511, also, a 
yearly pension was accorded to him “in considera- 
tion of his good, agreeable, and continual service,’’ 
he being then “weak and old, and receiving no 
other wage.” Before 1516 we know he must have 
died, for in that year he is spoken of in an inven- 
tory of the Archduchess Margaret’s effects as “ the 
late Master Jacopo.” In 1521, when Diirer was 
travelling in the Netherlands, he saw a sketch- 
book by Jacopo, which he admired so much that 
he asked the archduchess to give it him, but she 
said she had already promised it to Bernhard van 
Orley. 

Jacopo de’ Barbarj’s art forms a point of contact 
between the German and Italian schools, but his 
style is more that of a Germanized Italian than of 
an Italianized German. His subjects are chiefly 
chosen from classical mythology, and a classic 
grace and feeling are seen in his treatment of them, 
though in execution his prints are often entirely 
German. 

Very few paintings can be with certainty 
ascribed to this master. One of these, a still-life 
subject, in the Augsburg Gallery, is signed Jace de 
barbarj. P. 1504, with the Caduceus underneath on 
a conspicuous folded sheet of paper, painted in one 
corner of the picture. There seems, therefore, no 
doubt about the authenticity of this work, though 
it is a strange subject (a pair of gauntlets, and a 
bird, hanging against a wooden wall) to find 
painted by such a master. Other paintings 
ascribed to him are: 

1. St. Jerome in his Cell ; also ascribed to Van Eyck and 
Memling, and by Crowe and Cavalcaselle to Antonello 
da Messina. Now in the possession of Lord North- 
brook. 

2. A bust figure of Christ, signed with the Caduceus and 
the initials I. A. D. B., in the Weimar Gallery. 

3. Virgin and Saints, formerly in the Galichon Collec- 
tion, signed with the Caduceus and initials I. A. F. F 


4, A Bust of Christ. 
5. St. Catharine. All in the Dresden Gallery. 


6. St. Barbara. 


But it is as an engraver that Jacopo de’ Barbarj 
is chiefly known. Bartsch enumerates 24 copper- 
plates by him, and more recent critics 29. These 


are: 
79 


eS oa a 


Areas, A et eae A 
=< » cs i - . Lo A 7 


MYTHOLOGICAL SUBJECTS. | 


1. Apolloand Diana. 

Ariadne, also called Cleopatra. 

. Mars and Venus. 

. Venus. 

. The great Sacrifice to Priapus. 

. The little Sacrifice to Priapus. 

. The Guardian Angel. 

Two Tritons caressing in the Sea. 

. A Fury carried off by a Triton. 

. Pegasus. 

. Fauns. 

. Family of Satyrs. 

. A Victory. 

. Victory and Fame, or Imperial Rome. 

\\The Two Doctors. 

e Two Centaurs. 

. Peasant and Family, called by Bartsch ‘Adam 
and, Eve.’ 

. Three then bound (Les Suppliciés), 


SACRED SUBJECTS. 

. Adoration of the Magi. 

. Jesus Christ. 

. Sebastian bound. 

. Holy Family, with St. Paul. 

. Another Holy Family (small square plate). 
. Holy Family, in an enclosed place. 
. Judith and Holofernes., 

. St. Catharine. 

. St. Jerome. 

. Hagar. 

The supposition that Jacopo de’ Bar- 
barj was also a sculptor has not been 
proved. He signed usually with the 
Caduceus. But it has been supposed 
that the plates signed with W. which 
are generally attributed to Wolgemut 
are also by him. (See article by Dr. Anton 
Springer, Zeitschrift fur bildende Kunst, October 
1876.) Dr. Springer is of opinion that though he 
signed with the Caduceus in Italy, he adopted the 
W. in Germany in reference to his cognomen of 
Walch. : 

See article by Emile Galichon, in ‘ Gazette 
des Beaux-Arts,’ September 1873; ‘Notes Bio- 
graphiques sur Jacopo de Barbarj,’ by Charles 
Ephrussi, 1876. M. M. H. 

BARBASAN, Louis, was, according to Florent 
le Comte, a monk of the Abbey of Premontre, 
and engraved the plan and perspective view of 
that monastery, from a design of F. Bayette, 
another ecclesiastic of the same Order. 

BARBATELLI, Brrnarpino, called Poccrrri, 
also BERNARDINO ‘DALLE GROTTESCHE,’ ‘ DALLE 
FACCIATE,’ Or ‘DALLE MUSE,’ was born at Flor- 
ence in 1542 or 1548. He was a scholar of 
Michele di Ridolfo Ghirlandajo. After quitting 
the school of Michele, he went to Rome and 
studied the works of Raphael and other great 
masters there. He subsequently returned to his 
native place, not only a pleasing and graceful 
figurist, but rich and learned in his compositions ; 
hence he was enabled to adorn his historical sub- 
jects with beautiful landscapes, with sea views, 
with fruit and flowers, draperies and tapestries, 
which he imitated to admiration. He was more 
successful in fresco than in oil painting. Very 
few of his pictures on panel or canvas, but many 
of his frescoes, remain in Florence. He died at 
that city in 1612. The following are some of his 
best works: 


Florence. S. Annun- Scenes from the life of the 


ziata, founder of the Convent of the 
Servites. 
* San Marco. Scenes from the Life of St. An- 


thony (fresco). 
80 


Florence. Pitt Palace. Life of Cosimo I 
i ~ great Saloon), 
“i Certosa. Life of St. Bruno. > pene 
BARBAULT, Jxan, a French painter and en- — 
giaver, who resided some time at Rome, was born — 
about 1705. As a painter he is little known, but 
he etched a set of prints of ‘Les plus beaux — 
Monuments de Rome ancienne,’ as well as twi 
other series of archeological plates. He likewise 
executed a few engravings, amongst which are — 
the ‘Martyrdom of St. Peter,’ after Subleyras, and 
the ‘ Arrival of Columbus in America,’ after Soli- 
mena. He died in Rome in 1765 or 1766. 
BARBE, Jan BaprisrA, a Flemish engraver, wa 
born at Antwerp in 1578. In 1595 he entered the 
studio of Philippe Galle, and in 1610 he was re- 
ceived as a master into the Guild of St. Luke. He ~ 
soon afterwards went to Italy to improve himself 
in drawing, which may account for his being more ~ 
correct in his design than many of his country 
men. On his return to Antwerp he engraved 
several small and middle-sized plates,in a very 
neat manner, and in a style very similar to that 
of Wiericx. He died at Antwerp in 1649. Van 
Dyck painted a portrait of this artist, which is 
engraved by Bolswert. or 


SUBJECTS FROM HIS OWN DESIGNS. 


The Annunciation ; inscribed Spiritus sanctus. 

The Nativity ; inscribed Peperitt filiwm. 

The Virgin Mary and St. Joseph arriving at Bethlehem ; 
inscribed Ht reclinavit eum, &c. a 

The Virgin suckling the Infant Jesus in a Garland 
of Flowers; inscribed Beatus venter, &c. ee 

Christ on the Mount of Olives; In diebus, $c. 

Christ and the Disciples at Emmaus ; Kt aperti sunt, &c. 

The Crucifixion; Prohe jfilt, &c. 

St. Ignatius Loyola kneeling before an Altar. ‘ 

Four Emblematical Subjects of the Christian Virtues. 


~ 


AFTER VARIOUS MASTERS. 


The Repose in Egypt; St. Joseph presenting an Apple 
to the Infant; after G. B. Paggt. 

The Holy Family, with the Infant Jesus embracing St 
Joseph; after Rubens. 

Twenty-four plates of the Life and Miracles of Father 
Gabriel Maria, founder of the Annunciades; with his 
Portrait; after A. van Diepenbeeck. — 

The Virgin seated on a Throne, holding the Infant, with 
a Bird; after Frans Franck, the elder. 


In Meyer’s ‘ Kinstler-Lexikon’ there is a list of 
148 of his engravings. 

BARBELLA, GiovANNI GIAcoMO, was born at 
Cremona in 1590, and died in 1656. He is highly 
extolled by Pasta for his pictures in various 
churches at Bergamo; and particularly for an 
altar-piece in San Lazzaro, representing the titular 
Saint, remarkable for its dignity of character and 
decision of hand. 

BARBER, CHARLES, was born in Birmingham, and 
early in life settled in Liverpool, where he became 
president of the Institute of Art in 1813. He 
afterwards exhibited landscapes with the Water- 
Colour Society. He was an occasional contributor 
to the Royal Academy, sending there—‘ A View of 
Dovedale,’ ‘Evening after Rain,’ and other land- 
oie with figures. He died at Liverpool in 


BARBER, CHarLEs Burton, an animal painter, 
was born at Great Yarmouth in 1845. He studied — 
at the Academy Schools, and in 1864 obtained a 
silver medal for drawing from the antique. In 
1866, when only twenty-one years of age, he 
exhibited his first picture at the Royal Academy, to 


the exhibitions of which till his death he was a fre- 
quent contributor. His pictures, which generally 
represented children and dogs, were much repro- 
duced and were very popular. Some of the best- 
known were, ‘Once Bitten, Twice Shy,’ ‘The Order 
of the Bath,’ ‘In Disgrace,’ ‘ Sweethearts,’ ‘Trust,’ 
and ‘A special Pleader.’ During twenty-five years 
Barber executed a large number of pictures for 
Queen Victoria. He painted most of Her Majesty’s 
favourite dogs, combining many with a group of 
her grandchildren. His last picture, painted for 
the Queen in the year of his death, represented her 
in her pony-carriage surrounded by her grand- 
children. Barber lived chiefly in London, and 

died there in 1894. 
_ BARBER, CHRISTOPHER, who was born in 1736, 
was a celebrated miniature painter of his time, and 
was especially careful in the preparation of his 
colours, He was a member of the Incorporated 
Society of Artists, and an occasional contributor to 
the Royal Academy, where, in 1808, he exhibited 
a portrait of himself in his seventy-first year. He 
died in Marylebone in 1810. | 

BARBER, JoHN VINCENT, the son of an artist at 


Birmingham, made drawings for ‘ Graphic Illustra- 


tions of Warwickshire,’ which was published in 
1829, and exhibited landscapes at the Royal Aca- 
| demy from 1812 to 1830. It is believed that he 

_ died at Rome soon after the latter year. 

BARBER, Tuomas, born in Nottingham about 
1768, practised in the midland counties as a por- 
trait painter for many years. In 1819, while 
residing at Derby, he exhibited at the Royal Aca- 
demy a portrait of Mrs. Siddons. MHe died at 
Nottingham in 1843. 

BARBER-BEAUMONT, Joun Tuomas. See 
BEAUMONT. 

BARBIANI, Anprea. This painter was born 
at Ravenna about the year 1680, and is supposed 
by Lanzi to have studied under Cesare Pronti. 
He painted history in the style of that master, and 
there are several of his works in the churches and 
public edifices of Ravenna and Rimini, which 
_ prove him to have been an artist of considerable 
ability. Among his most esteemed productions 
is ‘The Four Evangelists,’ in the cupola of the 
cathedral of Ravenna. He died at that city in 
1754. 

BARBIANI, Giovanni BatristA, was a native of 
Ravenna, and flourished about the year 1635. It 
is not said under whom he studied, but from his 
manner it is probable that he was a scholar of 
Bartolommeo Cesi. His chief works in oil are 
his ‘St. Andrea’ and ‘St. Giuseppe,’ in the church 
of the Franciscans, and his ‘St. Peter’ in Sant’ 
Agata, at Ravenna. His best work in fresco is 
the ‘ Assumption of the Virgin,’ in the cupola of 
the chapel of the Madonna del Sudore, in the 
cathedral at Ravenna, which Lanzi says may be 
looked at with pleasure, even after seeing the 
cupola, by Guido, in that city. 

BARBIE, Jacquss, (or BARBIER,) an engraver, 
who worked in Paris from 1735 to 1779, and 
executed among others the following portraits: 

Louis XVI. when Dauphin ; bust in profile. 

Catharine II. of Russia; after J. C. de Matlly. 

Joseph II. of Austria, 1777. 

Charles III. of Spain. 

General Wolfe ; after Sir Joshua Reynolds. 

BARBIER, JEAN JACQUES FRANQOIS LE. 
LEBARBIER. 

BARBIER, NicHoLas ALEXANDRE, a French 

G 


See 


PAINTERS AND ENGRAVERS. 


landscape painter, was born in Paris in 1789. He 
at first executed architectural subjects, but after- 
wards joined the realistic school of landscape 
painting, and exhibited a great number of works 
at the Paris Salons from 1824 to 1861. He died 
at Sceaux in 1864. 

BARBIER-WALBONNE, Jacques Luc, a French 
historical and portrait painter, was born at Nismes 
in 1769. He was a pupil of David, and painted 
several subjects from Roman history, and others of 
a less heroic kind; also portraits of the distin- 
guished generals of France. In the Gallery of 
Versailles are portraits, by him, of Moreau and 
Moncey. He died at Passy in 1860. 

BARBIERE, ALESSANDRO DEL. See FEI. 

BARBIERE, Domenico DEL. See DEL BARBIERE. 

BARBIERI, Francssco, called DA LEGNANO, was 
born in a fortress called Legnano, in the vicinity 
of Brescia, in 1623. He was first intended for the 
profession of arms, but having evinced a great 
desire of becoming a painter, he was placed under 
Bernardino Gandini. He did not long continue 
with that master, but became a scholar of Pietro 
Ricchi, who had studied under Guido Reni. He 
painted history and landscapes, both in oil and 
in fresco; and in all his works showed a ready 
invention, and a wonderful facility of execution. 
He died at Verona, according to Orlandi, in 1698. 

BARBIERI, Giovanni FRANCESCO, (called GUER- 
CINO, squint-eyed,) was born of humble parentage 
at the small town of Cento, in the Ferrarese terri- 
tory, in 1591. Such was the early indication he 
gave of uncommon genius, that before he was 
ten years old he painted a figure of the Virgin 
on the facade of his father’s house, which would 
have been considered as a very extraordinary pro- 
duction, even at a more mature age. He was a 
pupil of Zagnoni at Cento, and of Cremonini 
and Gennari at Bologna. But he was, in a 
great measure, the disciple of his own genius and 
of nature. It is probable that he derived some 
advantage from studying the celebrated picture by 
Lodovico Carracci, at the Capuchins at Cento, of 
which he always spoke in terms of the highest 
admiration. The works of Guercino are distin- 
guished by three different styles, which he followed 
at different periods of his life. In his early works 
he seems to have been seduced into a violent and 
daring contrast of light and shadow, from the 
extraordinary estimation in which the pictures of 
Caravaggio were at that time held; and though 
he is always superior to that master in design and 
dignity of character, his first productions were 
infected with the vitiated principles, and something 
of the vulgarity, of that painter. After having 
visited Bologna, Venice, and Ferrara, and having 
made a stay of some duration in Rome, he changed 
his manner; and his second style is distinguished 
by a grander and more elevated taste of design, 


more amenity and sweetness in his colouring, a 


fine expression in his heads, and an extraordinary 
relief, without the aid of harsh and violent con- 
trast. Such is his masterpiece, the celebrated 
picture of ‘St. Petronilla,’ in the Gallery of the 
Capitol, Rome: it was formerly in a chapel in St. 
Peter’s, and is now represented by a copy in 
mosaic; such are also the ‘Aurora,’ which he 
painted in fresco in the casino of the Villa 
Ludovisi, Rome, his ‘St. William of Aquitaine 
assuming the garb of a Monk,’ in the Bologna 
Gallery, his ‘Dido’ in the Spada Gallery, Rome; 
and to his best time also belong his ‘ Angels ie 


ing over the Dead Body of Christ,’ in the National 
Gallery, and a ‘St. Peter raising Tabitha,’ in the 
Pitti Palace. On the death of his patron, Gregory 
XV., in 1623, Guercino left Rome, and removed to 
Cento, where he spent nearly 20 years. In 1626 
he undertook his immense work of the Duomo at 
Piacenza, where he has carried fresco-painting to 
the highest perfection, in the beauty and force of 
his colouring, the boldness of his foreshortening, 
and the magic of his relief. The cupola is divided 
into eight compartments, in the upper part of 
which he has represented the Prophets, accom- 
panied by Angels; and in the lower, the Sibyls, 
and subjects from the New Testament. These 
admirable performances caused Guercino’s powers 
to rank among those of the greatest artists of 
his time. In 1642, after the death of Guido, he 
went to Bologna. Towards the latter part of his 
life, the celebrity which that painter had acquired 
by the beauty and suavity of his style, induced 
Guercino once more to alter his manner. He en- 
deavoured to imitate the grace and elegance of 
Guido’s forms, and the silvery sweetness of his 
colouring; but in attempting delicacy, he fell into 
feebleness and languor, and lost sight of the energy 
and vigour by which his best works are distin- 
guished. Of the pictures painted in his last and 
weakest manner, are most of those in the churches 
at Bologna, the ‘Prodigal Son,’ in the Turin 
Gallery, the ‘Hagar and Ishmael,’ in the Milan 
Gallery, and several paintings in the Louvre, 
which gallery contains no less than twelve works 
by Guercino. He died at Bologna in 1666. He 
was the head of a numerous school of painters, 
amongst whom we may notice Benedetto Gennari 
the younger, and G. Bonatti. In Guercino’s best 
works even, we look in vain for the graces of ideal 
beauty, or the purest choice of selected nature. 
His figures are distinguished neither by dignity of 
form nor nobleness of air; and there is generally 
something to be wished for in the expression of 
his heads; but he subdues us by the vigour of his 
colouring: he is brilliant in his lights, tender in 
his demi-tints, and always energetic in his shadows. 
His drawing is bold, and often correct, and his 
execution is of the most prompt and daring facility. 
Of this we have a convincing proof in the sur- 
prising number of important works he accom- 
plished. Malvasia gives a list of them, by which 
it appears that he painted 106 altar-pieces for 
churches, 144 large historical pictures, besides his 
great fresco works, and his numerous Madonnas, 
portraits, and landscapes, in private collections. 
The following is a list of several of his best 
works: 


Birmingham. Oscott 
College. 
Bologna. Pinacoteca, The Duke of Aquitaine receiving 
the cloak of St. Felix. 
St. Bruno and his companion in 
the desert. 
Apollo and Marsyas. 


Martyrdom of St. Lawrence. 


99 29 


” 2”? 

Brussels. J/useum. A young man placed under the 
protection of the Virgin by his 
patron Saints, Nicholas, Francis, 
and Joseph. 

Dresden. Gallery. Venus finding the body of Adonis. 
1647. 

- 5 Cephalus and the body of Procris. 
1644. 
* * Diana. 
Semiramis. 


St. Francis. 
The Four Evangelists. 


A BIOGRAPHICAL DICTIONARY OF 


= 


; * + SiR y 
Dulwich. College. | The Woman take 
Florence. Pitt: Pal. St. Sebastian. _ 


ere x Madonna della Rondinella, _ 
” Uffizi St. Peter. : 3 ." a; ‘ a 
> a His own Portrait. : 
Me ie The Samian Sibyl. 
os a -Endymion Asleep. — 
Genoa. Pal. Brignoli. Cleopatra. Hee 
> rs Death of Cato. , 5 
London. Wat. Gall. Angels weeping over the dead 
body of Christ. re 
Madrid. Museum. Susannah at the Bath. 
os > Diana. meee 
Milan. Brera, Abraham dismissing Hagar. 
Naples. Museum. Magdalene. ess. 
Paris. Louvre. Lot and his Daughters. \ 
» 4 Virgin and Child. . 
SS . The Resurrection of Lazarus. 
» of Salome with the Head of John th 
Baptist. | “alt 
ss - The Patron Saints of Modena. 
oe ns Circe. testo 
ae 4 His own Portrait. 
= St. Cecilia. 


9 4 Rises 3, a 
Petersburg. Hermitage. St. Anne, the Virgin, and the 


Infant Christ. 
Assumption of the Virgin. — 
Martyrdom of St. Catharine. 
St. Jerome. . gen ‘ 
Samson and the Honey. — 


Rome Borghese. ae 
‘. Capitol Mus. St. Petronilla raised from the 
tomb. ae 
. Corsini Pal. Ecce Homo, = t 
He 2 Christ at the Well, — Ss 
53 V. Ludovisit. AuroradrivingawayNight( fresco). 
“4 * Fame with Force and Virtue 
(fresco). 
; Vatican. St. John the Baptist. 
ee a The Magdalen. 
” 99 St. Margaret of Cortona. 
Vienna. Gallery. Return of the Prodigal Son. 


This laborious artist left an incredible numberof _ : 


Return of the Prodigal Bon, | 


admirable drawings, which are highly esteemed; 


many of them were engraved by Bartolozzi. We 


have a few etchings by Guercino, executed with 


great freedom and spirit; they are as follow: 


St. Anthony of Padua; half-length ; Joan Fr. Cent 
St. John ; the same mark. 

St. Peter; Joan F. Barbieri, f. 

St. Jerome, with a Crucifix; the same mark. 

Bust of a Man with a cap and a beard. 

Bust of a Woman. 

Bust of a Man, in an Oriental costume. 


A life of Guercino, by J. A. Calvi, was pub- a 


lished at Bologna in 1808. 


BARBIERI, Luca. According to Malvasia, this — 


painter was a native of Bologna, and a scholar of 
Alessandro Tiarini. He painted architectural views 
and landscapes, and, in conjunction with Francesco 


Carbone (who painted the figures), executed some 


extensive works for the palaces and public edifices 
at Bologna. 


of Bologna of the same period. 

BARBIERI, Paoto ANToNIO. 
the brother of Giovanni Francesco Barbieri, called 
Guercino. He was born at Cento, a village near 


Bologna, in 1603. The subjects of his pictures — 


are flowers, fruit, and game, but he particularly 


excelled in painting fish, which he represented — 


with astonishing fidelity. He died in 1649. 


BARBOR, Lucius, a miniature painter, worked : 


chiefly in enamel, and exhibited at the exhibitions 
in Spring Gardens, London. He died in 1767. 
BARBUDO, Et. See VERMEIJEN. 


BARCA, Cavaliere GIAMBATTISTA, (or BARCHI,) — 


He flourished at the end of the 16th 
and the beginning of the 17th century. Heis not — 
to be confused with Lopovico BARBIERI, a painter 


This painter was 


t 
i 


GIOVANNI FRANCESCO BARBIERI 


CALLED 


_GUERCINO 


Alinari photo| [Forli Gallery 
THE ANNUNCIATION 


- 


Verona. 
_ tioned by Lanzi and Zani as an artist of great 
ability. It is uncertain whether he was instructed 


He flourished about 1650. He is men- 


by D. Feti, for his style was varied, but abounding 
with pictorial grace and beauty. 

BARCA, Vicente CALDERON bz ta. 
CALDERON, 
- BARCLAY, Huveu, born in London in 1797, 


See 


practised as a miniature painter, and was likewise 


celebrated for his copies of the Italian Masters in 
the Louvre. He died in 1859. 

BARCO, Det. See Det Barco. 

BARDIN, Jean, a French historical painter, 
born at Monthar in 1732, was a pupil of Lagrénée, 
the elder; and afterwards studied at Rome. He 
became a popular artist in France, and was ad- 


' mitted into the Academy in 1779. He was made 
| director of the art school at Orleans in 1788. His 

subjects are partly historical, partly poetical, and 
- sometimes religious. 


He was the instructor, in 
the elements of art, of David and Regnault. He 
died at Orleans in 1809. 


‘BARDON, Micuet Francois p’ANDRE. See 


be _ ANDRE-BARDON. 


-BARDUCCI, V. The name of this engraver is 


affixed to a portrait of Pascal Paoli, the Corsican 


General. It is dated 1768. 
~ BARDWELL, THomas, was an English por- 


trait painter, who died about the year 1780. He 


painted some portraits of the principal characters 
of his time, and published, in 1756, ‘The Practice 
of Painting and Perspective made easy.’ 

BAREN, JAN ANTON VAN DER. See VAN DER 
BAREN. % 

BAREND van BRUSSEL. See ORLEY. 

BARENGER, Jamus, a nephew of William 
Woollett, the celebrated engraver, was born in 
1780; and was well known as a painter of race- 
horses, deer, dogs, and other animals. It is be- 
lieved that he died soon after 1831, the last year 
of his exhibiting at the Royal Academy. 

BARENTSEN, Dirk, was born at Amsterdam, 


| in 1534. He was the son of an artist of little 


celebrity (perhaps Barent de Dowe, called Il 
Sordo), who taught him the rudiments of drawing. 
When twenty-one years of age he went to Italy 
and visited Venice, where he had the good fortune 
to be admitted into the school of Titian,who con- 
ceived for him a particular regard, and bestowed 
on him many marks of friendship. After passing 
seven years under that great master, he returned 
to Holland, and met with great success as a por- 
trait painter. The style he had acquired by a 
minute study of the works of Titian was peculiarly 
favourable to him in his portraits; and in that 
branch of art he was reputed the ablest artist of 
his country at the time in which he lived. One of 
his principal historical works was an altar-piece, 
representing the ‘ Fall of Lucifer,’ which he painted 
for the great church at Amsterdam. This picture 
was destroyed during the religious troubles of his 
country. He died at Amsterdam in 1592. A por- 
trait of the Duke of Alva by him is in the Gallery 
of that city. 

BARENTZEN, Emitius DiriEv, was born at 
Copenhagen in 1799. He first studied jurisprud- 
ence, and then spent five years in the West Indies. 
In 1821 he entered the Academy at Copenhagen, 
and studied under Eckersberg. In 1831 and 1832 
he visited Paris and Munich; but settling in his 
native city, he soon rose to great reputation as a 


G2 


portrait painter, and there executed no less than 
two thousand works. He died in 1868. 

BARGAS, A. F., a Flemish draughtsman and 
engraver, who lived at the beginning of the 18th 
century. He etched a set of six landscapes, from 
his own designs, and a set of four landscapes, 
after Pieter Bout, which are sometimes with 
the name of Bargas, and sometimes with- EK 
out it. 

BARGONE, Giacomo, was a native of Genoa, 
and studied under Andrea and Ottavio Semini. 
He became one of the most promising artists of 
his country. His drawing was remarkably correct, 
his execution free and prompt, and the contour of 
his figures extremely graceful. The possession 
of such talents excited the jealousy of a contem- 
porary artist, Lazzaro Calvi, who, as Soprani 
relates, after inviting him to a repast, mixed a 
stupefying drug in a goblet of wine, from the 
effects of which the unfortunate victim perished 
in the prime of life. He flourished in the 16th 
century. 

BARKER, BENJAMIN, a brother of ‘ Barker of 
Bath,’ was born in 1776, and became a landscape 
painter of some note. He exhibited both at the 
Royal Academy and at the Water-Colour Society, 
from 1800 to 1821, and occasionally at the British 
Institution. He died at Totnes in 1838. 

BARKER, CHARLES, was a native of Birming- 
ham, who during forty years, at the early part of 
the 19th century, resided at Liverpool, where he 
ranked high as a teacher of art. He was elected 
president of the Liverpool Academy, to which he 
was a regular contributor. He occasionally also 
exhibited at the Royal Academy in London; his 
last works exhibited there were, in 1849, ‘ Evening 
after Rain,’ ‘A Luggage Train preparing to Shunt,’ 
and ‘The Dawn of Day, a Foraging-Party Return- 
ing.’ He died in 1854. 

BARKER, Henry Aston, who was born at Glas- 
gow in 1774, assisted his father, Robert Barker, 
in his panoramas, and in time became known for 
those which he executed by himself. He worked 
at Constantinople, Paris, Palermo, Copenhagen, 
Malta, and Venice. He died at Bilton, near Bristol, 
in 1856, having retired from his profession as early 
as 1826. The ‘Coronation Procession of George IV.’ 
was his last work. ; 

BARKER, Rosert, inventor and painter of 
Panoramic Views, was born at Kells, county 
Meath, in 1739. The first panorama he painted 
was a‘ View of Edinburgh,’ exhibited by him in 
that city in 1788, and in London in 1789. This 
picturesque mode of exhibiting on a large scale 
soon became popular; and Views of London, 
Dublin, Athens, Lisbon, and other places, quickly 
followed, until Barker’s Panoramas became cele- 
brated among the fashionable exhibitions of the 
day. He died at Lambeth in 1806, leaving two 
sons, who carried on similar exhibitions for many 
years in the house built in 1793 by their father in 
Leicester Square. 

BARKER, SamveEL, was a cousin of John 
Vanderbank, by whom he was instructed in por- 
trait painting ; but having a talent for painting 
fruit and flowers, he imitated Jean Baptiste, and 
would probably have excelled in that branch of 
art, had he not died young, in 1727. , 

BARKER, THomas, (called ‘ Barker of Bath,’) a 
painter of landscape and rural life, was born in the 
year 1769, near the village of Pontypool, in Mon- 
mouthshire. His father, the son of a barrister, 

83 


' 


having run through a considerable property, com- 
menced practice as an artist, but never attempted 
more than the portraits of horses. Young Barker 
early showed a remarkable genius for drawing 
figures and designing landscapes; and on the re- 
moval of his family to Bath, the liberal encourage- 
ment of Mr. Spackman, an opulent coach-builder 
of that city, afforded him the means of following 
up the bent of his inclination. During the first 
four years he employed himself in copying the 
works of the old Dutch and Flemish masters, which 
he imitated very successfully. At the age of 
twenty-one he was sent to Rome, with ample funds 
to maintain his position there as a gentleman. 
While in that city he painted but little, contenting 
himself with storing his mind with such knowledge 
as might be applied usefully hereafter. In drawing 
or painting he never took a lesson ; he was entirely 
self-taught. Barker was an occasional exhibitor at 
the Royal Academy and the British Institution for 
nearly half a century, during which period he sent 
nearly one hundred pictures, His numerous pro- 
ductions embraced almost the entire range of pic- 
torial subjects, and have the marks of true genius 
stamped upon them. Few pictures of the English 
school are more generally known and appreciated 
than ‘The Woodman,’ of which it appears two 
were painted, both of them from nature, and of 
life size : the first was sold to Mr. Macklin for 500 
guineas; the second, which realized the same sum, 
became the property of Lord W. Paulett. In 1821 
he painted the ‘Trial of Queen Caroline,’ in which 
he introduced portraits of many celebrated men; 
but perhaps the noblest effort of Barker’s pencil 
was the magnificent fresco, 30 feet in length, and 
12 feet in height, representing ‘The Inroad of 
the Turks upon Scio, in April, 1822,’ painted on 
the wall of his residence, Sion Hill, Bath, and 
possessing merits of the highest order, in compo- 
sition, colour, and effect. While Barker’s talents 
were in full vigour, no artist of his time had a 
greater hold on popular favour; his pictures of 
‘The Woodman,’ ‘Old Tom ’ (painted before he 
was seventeen years of age), and gipsy groups 
and rustic figures, were copied upon almost every 
available material which would admit of decor- 
ation: Staffordshire pottery, Worcester china, 
Manchester cottons, and Glasgow linens. At one 
time he amassed considerable property by the 
sale of his works, and expended a large sum in 
erecting a mansion for his residence, enriching it 
with sculpture and other choice productions of 
art. He died at Bath in 1847. There are two 
ictures by Barker in the National Gallery: ‘A 
oodman and his Dog in a Storm,’ and a Land- 
scape, perhaps on the Somerset Downs. 

BARKHR, THomas JONES, a popular painter of 
battle-pieces and military subjects, was the son of 
“ Barker of Bath,” from whom he received his first 
teaching, and was born in 1815. At the age of 
nineteen he went to Paris, and entered the studio 
of Horace Vernet, on many of whose pictures he 
collaborated. His first pictures were exhibited in 
Paris, among them a ‘Death of the Grand Mon- 
arque for Louis Philippe. Among his later works 
were ‘Meeting of Wellington and Blucher after 
Waterloo,’ ‘Nelson’s Prayer in the cabin of the 
Victory,’ ‘The Secret of England’s Greatness,’ and 
‘The Riderless Horse, after Sedan.’ Barker died 
March 29, 1882. 

BARLOW, Francis, an English painter and 
engraver, born in Lincolnshire in 1626, was the 

84 


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A BIOGRAPHICAL DICTIONARY OF = «= ae 


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pupil of William Shephard, a portrait painter. — 
He excelled in representing animals, birds, fish, 
&c., which he drew with great accuracy; and 
if his colour and touch had been equal to his — 
drawing, he would have ranked amongst the most _ 
eminent painters of those subjects. The land- 
scapes he introduced into his pictures are very — 
pleasing. Hollar engraved in 1671 a set of thir- 
teen plates, after his own designs, entitled ‘Several 
ways of Hunting, Hawking, and Fishing, in- — 
vented by Francis Barlow.’ Some of the plates — 
for Edward Benlowe’s divine poems, called ‘Theo- _ 
phila,’ published in 1652, were engraved by Bar- 
low. He published a translation of ‘Aisop’s 
Fables,’ in 1665, with 110 plates, etched from 
his own designs. He also painted ceilings, and 
designed monuments for Westminster Abbey, 
He trequently signed his plates #. B., sometimes 
enclosed in a circle. He died in 1702. a 
BARLOW, J., practised as an engraver in 
London at the end of the 18th century. He en- 
graved some of the illustrations to Ireland’s 
‘Hogarth,’ published in 1791, and for ‘Rees’s 
Cyclopedia.’ | _ 
BARLOW, Tuomas OLDHAM, a mezzotint en- 
graver, was born at Oldham in 1824. He was 
articled to a firm of engravers at Manchester, and __ 
studied in the school of design in that city. His 
first engraving after his arrival in London in 1847 __ 
was from the work of John Philip, the most im- 
portant of whose pictures he engraved. In 1856 
he engraved Millais’ ‘ Huguenots,’ and in 1865 his 
‘My first Sermon.’ He subseque: tly produced 
plates after the portraits of public characters 
which were painted by Millais for Messrs. Agnew. 
In 1873 Barlow was elected an associate engraver 
of the Royal Academy, in 1876 a full associate, 
Cae an academician. He died at Kensington a 
In 5 ; : a 
BARNA (or Berna), of Siena, flourished in the 
latter half of the 14th century. He painted at 
Siena, Cortona, Arezzo, and at San Gimignano, 
where a much damaged series. of frescoes still = 
exists. These frescoes, which are almost all that | 
remain to testify to Barna’s art, represent the | 
‘Passion of our Lord,’ and are executed somewhat 
after the manner of Simone Martini. Vasari tells — 
us that Barna died in 1381, from injuries received 
by a fall from a scaffold, while painting in the 
church of San Gimignano, 
BARNABA pa MODENA. See Mopsna. . 
BARNABEI, Tommaso, known as Maso Papa- — 
CELLO, was a pupil of Luca Signorelli, and aided 
Giulio Romano at Rome. At about 1523-4 he 
assisted Giambattista Carporali at the villa of 
Cardinal Passerini, near Cortona. He painted 
three pictures, representing the ‘ Annunciation,’ the 
‘Conception,’ and the ‘ Adoration of the Magi,’ in 
the church of Santa Maria del Calcinaio, near 
Cortina, and finally settled at Perugia, where he 
died in 1559. i 
BARNARD, FReEpDERICK, was bornin Londonin ~ 
1846. He studied first at Heatherley’s Art School 
in Newman Street and afterwards under Bonnat 
in Paris. His earliest publication was a set of 
charcoal drawings, entitled ‘The People of Paris’ _ 
His first contribution to ‘ Punch’ appeared in 1863. 
Barnard’s best-known work was the illustration 
of the household edition of the works of Charles 
Dickens (1871-9). Many of his drawings appeared 
in ‘Good Words,’ ‘Once a Week,’ and ‘ The Illus- 
trated London News.’ He illustrated an edition 


FEDERIGOSBAROCCIO 


: Brogi photo] [Corsint Gallery, Rome 


THE APPEARANCE OF CHRIST TO MARY MAGDALENE 


| 
: 


a of Bunyan’s ‘ Pilgrim’s Progress’ in 1880, and about 


| the same time produced his ‘Character Sketches 


a 


. ee 
\ < 
” 


i from Dickens.’ Barnard also painted a few pictures 


in oil which were exhibited at the Royal Academy. 
He was suffocated in a fire at a friend’s house at 
Wimbledon in 1896. 

BARNARD, Wit.iam, who was born in 1774, 
was a mezzotint engraver. Among his most suc- 
cessful plates were ‘Summer’ and ‘ Winter,’ both 
after Morland, and a portrait of Nelson. He died 
in 1849, having held for some years the post of 
Keeper of the British Institution. 

BARNEY, JosrrH. There are engravings 
executed in stipple by this artist, after the paint- 
ings of Bassano, W. Hamilton, and others, which 
were published at the end of the 18th century. 

BARNEY, Josep, a fruit and flower painter, 


was born at Wolverhampton in 1751. He came 


to London in early life, and studied under Zucchi 
and Angelica Kauffmann, and in 1774 received a 


_ premium from the Society of Arts. He exhibited 


storical or poetical subjects, or flower pieces, at 


the Royal Academy from 1786 until 1827, and, in 


1815, received an appointment as flower painter 
to the Prince Regent. Barney left two sons 
who followed in his footsteps—JosEPH BARNEY, a 


- flower painter, who lived chiefly at Southampton, 


and exhibited occasionally at the Water-Colour 
Society (1815—1818); and William Whiston 
Barney. 

BARNEY, Wir.tiAm WHISTON, a mezzotint en- 
-graver, was a pupil of Samuel William Reynolds. 


- He is best known by his portraits of Sir Arthur 


Wellesley, after Hoppner, and the Marquis of 
Blandford, after Cosway, and by various repro- 
ductions of Reinagle’s sporting subjects. About 
1805 he bought a commission in the army, and 
served with credit during the Peninsular war. 

BARNUEVO, SepasTiAno DE HERRERA. See 
HERRERA BARNUEVO. 

BAROCCI, Amsroaio, the father of Federigo, 
was a sculptor of some note in the 15th century. 
His portrait, painted by himself, is in the Uffizi at 
Florence. 

BAROCCI, Fep=ric0, (or BARoccIo)—sometimes 
called FiorE—was born at Urbino in 1528. He 
was the son (?) of Ambrogio Barocci, a sculptor of 
some eminence, and was placed — after he had 
received instruction in design from his father — 
under Battista Franco, with whom he studied until 
that painter left Urbino. Barocci then went with 
his uncle, Bartolommeo Genga, the architect, to 
Pesaro, where he copied some works by Titian. In 
1548 he went to Rome, and studied the works of 
Raphael. He was favoured with the protection of 
the Cardinal della Rovere, who received him into 
his palace, where he painted some pictures in fresco, 
and the portrait of his patron. After passing 
four years at Rome, he returned to his native 
city, where his first work was a picture of ‘St. 
Margaret,’ executed for the Confraternity of the 
Holy Sacrament. This work gained him great 
celebrity ; and he was invited by Pope Pius IV. to 
assist in the decoration of the Belvedere Palace 
at Rome, where he painted the ‘ Virgin Mary and 
Infant Saviour, with several Saints,’ and a ceiling 
in fresco, representing the ‘Annunciation.’ While 
working in the Vatican he was nearly killed by 
poison, and though he did not actually lose his life, 
he was unable to work for four years, and even 
after that time he could paint no longer than about 
two hours each day. Having finished these and 


PAINTERS AND ENGRAVERS. 


other works, he returned to Urbino, where he 
painted a fine picture for the cathedral of San 
Lorenzo, at Perugia, of the ‘Descent from the 
Cross.’ He again visited Rome during the pon- 
tificate of Gregory XIII., when he painted two 
admirable pictures for the Chiesa Nuova, represent- 
ing the ‘ Visitation of the Virgin Mary to Elisabeth,’ 
and the ‘Presentation in the Temple,’ which are 
considered his best productions, and for the Chiesa 
della Minerva, a fine picture of the ‘ Last Supper.’ 
Barocci spent nearly all the remaining years of his 
life at his native Urbino, where he died in 1612, 
aged 84 years. He was buried in the church of San 
Francesco, with much honour. In the works of 
Barocci we admire an elegant taste, and there is 
great amenity and harmony in his colouring. He 
seems to have adopted the manner of Correggio as 
the model for his imitation; and although he has 
succeeded in giving a graceful air to his figures, his 
style must be allowed to partake of something 
approaching to affectation, and can never be put in 
competition with the beautiful and touching sim- 
plicity of that inimitable painter. He was a better 
draughtsman than many of his contemporaries, but 
his colouring was not good. Mengs remarks that 
his pictures lacked yellow tints; and Bellori says 


that he used too much vermilion and ultramarine. | 


Among his pictures in public galleries are: 


Dresden. Gallery. Hagar in the Desert. 
Madonna and two Saints. 
Virgin pleading for the poor. 
Noli me tangere. 
ms es Portrait of the Duke of Urbino. 
London. Wat. Gallery. Holy Family, del Gatto. 
Milan. Brera. sayeliieg of St. Vitale (dated 
1583). 
Munich. Pinakothek. Saviour appearing to the Mag- 
dalene (dated 1590). 
. The Circumcision (signed and dated 
1580). 
" Madonza in glory, with Saints. 
Petersburg. Hermitage. Holy Family. 
‘3 3 Portrait of a Man. 
And four others. 
Rome. Borghese Pal. Burning of Troy. 


2? ” 
Florence. Uffizt. 


2? 29 


Paris. Louvre. 


Pa Vatican. The Annunciation. 
me 3 The Ecstasy of St. Michelina. 
rn aS Madonna. 

Windsor. Castle. Nativity. 


Weare indebted to Barocci for some engravings, 
which, although not very commendable for the 
delicacy of their execution, possess the higher 
qualifications of correctness of design and beauty 
of expression. He has left us the following 
plates : 

The Virgin and our Saviour appearing to St. Francis; 

a large plate, arched. His principal plate. 

The Virgin holding the Infant Saviour; a small plate, 

of which the lower part ts left unfinished. 

The Virgin in the Clouds, with the Infant Jesus; 

marked F. B. V. F. 

The Annunciation; on the left of the print a Cat sleep- 

ing ; fine. 

St. Francis receiving the Stigmata. 

BARON, BERNARD, an eminent French engraver, 
was born in Paris about the year 1700. He was 
instructed in engraving by Nicolas-Henri Tardieu, 
whose style he followed. He engraved several 
plates for the Crozat Collection, and afterwards 
came to England, where he resided the remainder 
of his life, and died in London in 1766. Many 
of his engravings are in the Boydell .Collection: 
they are executed in a coarse manner, but are not 
without considerable merit. The following are his 
principal works : 

85 


A BIOGRAPHICAL DICTIONARY OF 


Venetian masters; among which is a print repre- S 
senting the ‘ Crucifixion, with Angelsin theair,and 


PORTRAITS. 


King Charles I. on Horseback, with the Duke d’Eper- 
non; after Van Dyck. 

Charles I. and Queen, with their two Sons; after the 
same. 

The Nassau Family ; from Earl Cowper’s picture; after 
the same. 

The Pembroke Family; from the picture at Wilton; 
after the same. 

Henry VIII. granting the Charter to the Barber- 
Surgeons’ Company ; after Holbein. 

The Family of Van Dyck; after Van Dyck; in the Earl 
of Pembroke’s picture. 

Robert, Earl of Carnarvon ; after Van Dyck ; in the same 
collection. 

Anna Sophia, Countess of Carnavon; after the same; 
in the same collection. 

George, Prince of Wales, on Horseback ; after Adolph. 

Cornelis van Tromp, Vice-Admiral of Holland; after 
J. Vanderbank. 

Dr. Mead; after A. Ramsay. 

The Lord Chancellor Hardwick; after the same. 

The Lord Chief Justice Reve; after J. Amiconi. 

The Cornaro Family; after Titian; the picture is in 
the possession of the Duke of Northumberland. 

Benjamin Hoadly, Bishop of Winchester; after Hogarth. 


SUBJECTS AFTER VARIOUS MASTERS. 


Nine plates of the Life of Achilles, with the titles ; after 
Rubens. 

Belisarius; incorrectly called after Van Dyck. 

Charles I. escaping from Hampton Court; after J. 
@ Angelis. 

Jupiter and Antiope; after Titian ; for the Crozat Col- 
lection. This is considered his chef-d’auvre. 

Pan and Syrinx; after Nic. Bertin. 

The Card-players; after D. Teniers. 

The Temptation of St. Anthony; after the same. 

The Italian Comedians; after Watteau. 

The Companion; after the same. 

The Two Cousins; after the same. 

Soldiers plundering a Village; after the same. 

The Peasants revenged ; after the same. 

St. Cecilia; after Carlo Dolct. 

Moses exposed on the Nile; after Le Sueur. 

Marriage-a-la-mode ; after Hogarth (two of the plates). 


BARON, JEAN, (or BaRronius,) a French en- 
graver, who is sometimes called ‘Tolosano,’ from 
his birthplace, was born at Toulouse in 1631. 
He resided the greater part of his life at Rome, 
where he worked in union with C. Bloemaert, 
and engraved several plates of historical subjects 
and portraits. They are executed entirely with 
the graver in a neat but dry manner, and are 
not very well drawn. The following are his best 
works: 

PORTRAITS, 


Jean Plantavit, Sieur de la Pause, Bishop of Lodéve. 
Cardinal Aquaviva. 

Leonardo Alberti, architect. 

Vito de Bramante, architect. 

Giovanni Francesco Rustici, sculptor. 

Mare Antonio Raimondi, engraver. 

Raphael d’ Urbino. 

Leonardo da Vinci. 


SUBJECTS AFTER VARIOUS MASTERS. 


Judith with the head of Holofernes ; after Domenichino. 

The Stoning of St. Stephen; after Niccolo dell’ Abdbate. 

The Martyrdom of St. Andrew; after the same. 

St. Peter and St. Paul in the Clouds; after Ann. Car- 
racer. 

The Virgin in Adoration; after Guido Reni. 

The Virgin; asmall plate; after Bernini. 

St. Romualdus, and Monks; after Andrea Sacchi. 

The Plague at Ashdod; after NV. Poussin. 


BARONI, GrusEpPrE, was an Italian engraver, 
who resided at Venice about the year 1720. He en- 
graved some large plates from the paintings of the 

86 


ican » © Aaah Fy are) he 2 q Oe ” ‘in’ 
ES has ‘7 Sey a ake NO) ote Rt ah 
t « 7 Aa ibaa a! Orn ve 3 
, > yt ' a > ~. ae 


St. John and St. Mary Magdalene at the foot of 


the Cross.’ It is executed in a coarse, unpleasing _ 


style, and the drawing is very incorrect. | 


BARONI-CAVALCABO, Kaspar ANTON VON, a 
-Tyrolese historical painter, was born at Saccoin 
1682. He was instructed in the art by Giovanni 


Baroni, a kinsman, and by Antonio Balestra at 
Verona. He then went to Venice and Rome, 
where he studied in the school of Carlo Maratti. 
He devoted his talents chiefly to biblical and re- 
ligious subjects, and he presented many of his pic- 
tures to the churches of Sacco, Trent, and Roveredo. 
During the greater part of his life he lived in 
Sacco, where he died in 1759. Many of his draw- 
ings are in the Library at Innsbruck. : 
BAROZZI. See Barocct. 
BARRA, JoHAN. See BARA. : 
BARRABAND, Pierre Pavt, a French painter 
of flowers, birds, and other subjects in natural 
history, was born at Aubusson in 1767. He studied 
under Malaine, the designer of the tapestry manu- 
factory of the Gobelins. Le Vaillant, the cele- 
brated traveller, employed him to paint the birds 
of Africa, parrots, and birds of paradise for his 
works. He also supplied the illustrations for the 
edition of Buffon published by Sonnini; for the 
‘History of Insects,’ by Latreille, and for the great 
work of the Institute on Egypt. He was professor 
at the School of Design at Lyons; and he executed 
numerous designs for Sévres porcelain, and decor- 
ated the dining-room at St. Cloud. He died at 
Lyons in 1809. . 
BARRALET, Joun James, of French extraction, 
was born in Ireland; he was in early life a draw- 
ing-master in Dublin, but came to London and 
practised water-colour painting. He exhibited three 
landscapes at the Royal Academy in 1770, and 
occasionally exhibited in succeeding years. He was 
employed in illustrating books on Irish Antiquities. 


In 1795 he emigrated to America, where he died 


in 1812. His brother, J. MELCHIOR BARRALET, was 
a teacher in the Royal Academy School, and occa- 
sionally, between the years 1775 and 1789, sent 
tinted drawings to the Academy Exhibitions. 

BARRANCO, BEernarpo MARTINEZ DEL. 
MARTINEZ DEL BARRANCO. 

BARRAS, S#BASTIEN, a painter and engraver, 
was born at Aix, in Provence, in 1653. He 
was a pupil of Boyer d’Aguilles, and studied for 
some time in Rome. He died at Aix in 1703. The 
first edition of the Boyer d’Aguilles Collection, pub- 
lished in 1709, contained twenty-seven plates in 
mezzotint, scraped by this master; they were re- 
placed in the second edition by plates engraved by 
Coelemans. The former have become very scarce. 
He also engraved a portrait of Lazarus Maharky- 
sus, a physician of Antwerp, after Van Dyck. 

BARRAUD, Henry, a younger brother of 
William Barraud, was born in 1812. He ex- 
celled as an animal painter, and in his later life 
exhibited pictures which were engraved and be- 
came very popular. The most important of these 
were, ‘We praise thee, O God’ (three choir boys 
in their surplices), ‘The London Season’ (a scene 
in Hyde Park), and ‘ Lord’s Cricket Ground.’ He 
died in 1874. 

BARRAUD, Witt, an animal painter, was 
born in 1810. The family of this artist came over 
to England from France at the time of the Revo- 
cation of the Edict of Nantes; his father held an 


See 


appointment in the Custom-house, and his grand- 
_ father was a well-known chronometer-maker in 
Cornhill. His taste for painting was most probably 
| inherited from his maternal grandfather, an excel- 
___ Jent miniature painter; but it was not fostered very 
early in life, for, on leaving school, he took a situa- 
| tion in the Customs, where he remained but a short 
time; he quitted it to follow the profession most 
in unison with his feelings, under the guidance 
| of Abraham Cooper, R.A., with whom he studied 
for a considerable time. Without attaining to the 
_ highest rank in his peculiar department, that of a 
| painter of horses and dogs, for to these he chiefly 
confined his practice, he was always correct in his 
style of work; while the subject pictures which 
he painted, in conjunction with his brother Henry, 
were far above mediocrity, both in conception and 
_ treatment. The two brothers were for many years 
joint exhibitors at the Royal Academy and the 
ritish Institution. William Barraud died in 1850. 
BARRE, Drta. See DE LA Barr, 
BARRERA, Francisco, a Spanish fresco-painter, 
| is best known by his eloquent and successful 
appeal on behalf of his fellow-artists, upon whom 
in 1640 the Government wished to impose the 
taxes levied upon trade corporations. No details 
. o£ his life are known. 
BARRERA, Jacopo pg, was a Spanish historical 
painter, many.of whose works, dated 1522, are in 
the cathedral of Seville. He was a friend and 
fellow-worker of Covarrubias, and died insane, 
-but in what year is not known. | 
BARRET, Georges, an eminent painter of land- 
‘scapes, was born in Dublin in 1728 (or 1732), and 
received his first education in art in the Drawing 
Academy of Mr. West, in that city. Having been 
introduced by his patron, Mr. Burke, to the Earl of 
Powerscourt, he passed a great part of his youth 
in studying and drawing the charming scenery 
around Powerscourt Park; and he soon after gained 
the premium offered by the Dublin Society for the 
best landscape. Barret came to England in 1762, 
and two years afterwards gained the fifty pounds 
premium given by the Society of Arts. He had 
the honour of contributing to the establishment of 
the Royal Academy, of which he was one of the 
earliest members. He was a chaste and faithful 
| delineator of English landscape, which he viewed 
| with the eye of an artist, and selected with the 
feeling of a man of taste. His colouring is excel- 
| lent, and there is a freshness and dewy brightness 
in his verdure which is only to be met with in 
English scenery, and which he has perfectly 
represented. The landscapes of this artist are to 
| be found in several of the collections of the nobil- 
| ity; but his principal works are in the possession 
} of the Dukes of Portland and Buccleuch. His 
decoration of the great room at Norbury Park, 
near Leatherhead, will ever rank among his most 
celebrated productions. He died at Paddington in 
1784. 
There are a few spirited and picturesque etch- 
ings by him as follow: 
A View of the Dargles, near Dublin. 
A set of six Views of Cottages near London. 
| A large landscape, with Cottages. 
| A View of Hawarden Castle; dated 1773. 
| BARRET, Gerorcz, ‘the younger,’ a son of the 
artist of the same name, was born about 1774, and 
| was one of the first members of the Water-Colour 
Society, on its foundation in 1804, and an exhibitor 
in its Gallery for many years. In 1840 he published 


PAINTERS AND ENGRAVERS. 


a series of Letters on the ‘Theory and Practice of 
Water-Colour Painting.’ He died in 1842, after a 
long illness. There are several drawings by him 
in the South Kensington Museum. His brother, 
J. BARRET, and his sister, M. BARRET, were also 
painters in water-colours, and occasionally ex- 
hibited their works. Miss Barret died in 1836. 

BARRET, RanetacuH. This artist is mentioned 
by Lord Orford as a noted copyist, who made 
duplicates of several pictures in Sir Robert Wal- 
pole’s collection, and of others in the galleries 
of the Duke of Devonshire and Dr. Meade. He 
succeeded especially in reproducing the works of 
Rubens. He died in 1768. 

BARRI, Giacomo, a Venetian painter and en- 
graver, flourished about the year 1670. He etched 
some plates from his own designs, and in 1671 pub- 
lished a book of some reputation, entitled ‘ Viaggio 

ittoresco d'Italia.” He died about 1690. There 
is a slight free etching by him of the ‘ Nativity,’ 
after Paolo Veronese. 

BARRIERE, Dominique, a French painter and 
engraver, was born at Marseilles about the year 
1622. He chiefly resided at Rome, where he en- 
graved a considerable number of plates, in a very 
agreeable style, after Claude and other landscape 
painters, as well as other subjects. They are 
neatly etched in the manner of Stefano della Bella. 
He died in Rome in 1678. He sometimes signed 
his plates with his name, Dominicus Barrviere 
Massiliensis, and sometimes with the cipher which 
is the mark used by Domenico del Barbiere, 
and thus mistakes frequently arise, although 
their styles are extremely different. Among 
others we have the following by him: 


Portrait of Jean de la Valette; marked D. B.; scarce 

A set of six Landscapes. 

A pe 2 twelve Landscapes; dedicated to Lelio Orsini. 

Seven Views of the Villa Aldobrandini. 1649. 

A ep tent with the Zodiac; inscribed Vim profert 
ubt, $e. 

A View of Frascati. 

Pontana maggiore nel Giardino di Tivoli, with his 
cipher, 

Kighty-four Views and Statues of the Villa Pamphili. 

Four; entitled Catafalco e apparato nella chiesa, &c. 

Sepulchral Monument of N. L. Plumbini; Dominicus 
Barriere Gallus, in. ex. del. et scul. 

Hercules, after a basso-rilievo in the Medicean Garden. 

A large Plate; entitled Circwm Urbis Agonalibus, &c. 
with many Figures. 1650. 

Several plates of the History of Apollo; after the pic- 
tures by Domenichino and Viola. 


BARRON, Huau, the son of an apothecary in 
Soho, was born about 1746, and became a pupil of 
Sir Joshua Reynolds. From the year 1766 to 1786 
he exhibited many portraits, which were but poor 
in comparison with the works of his celebrated 
instructor. He died in 1791. 

BARRON, Wi.u1aAm AveusTUs, a younger 
brother of Hugh Barron, was a pupil of William 
Tomkins, A.R.A. He gained a Society of Arts 
premium in 1766, and started in life as a teacher 
of drawing. From 1774 to 1777 he exhibited 
landscape views at the Academy, some of which 
were engraved and published. On receiving a 
Government appointment he relinquished his art. 

BARROSO, MicveEt, a Spanish painter, born at 
Consuegra in 1538. According to Palomino, he 
was a scholar of Gasparo Becerra, and distinguished 
himself as an architect, as well as a painter. He 
was employed by Philip II. in the Escorial, oy 


A BIOGRAPHICAL DICTIONARY OF 


he painted, in the principal cloister, the ‘ Resur- 
rection,’ ‘Christ appearing to the Apostles,’ the 
‘ Descent of the Holy Ghost,’ and ‘St. Paul preach- 
ing.’ In 1589 he was made painter to the king. 
His compositions are copious, and his design cor- 
rect. Cean Bermudez and Quilliet say that he failed 
sometimes in vigour and knowledge of chiaroscuro ; 
but that his colour was that of Barocci, and his 
forms those of Correggio. He died at the Escorial 
in 1590. 

BARRY, Henprix. See Bary. 

BARRY, J., was a miniature painter, who exhi- 
bited at the Royal Academy at intervals from 1784 
to 1819—amongst others the ‘ Four Seasons,’ and 
various fancy portraits. 

BARRY, JAmzEs. This eminent artist was born 
at Cork in 1741. He was the son of a ship-master 
who traded from Cork to England, and was intended 
by his father to succeed him in that calling; but 
his decided inclination for drawing induced his 
parents to permit him to follow the bent of his 
genius; and he was educated at the Academy of 
Mr. West at Dublin, where, at the age of twenty- 
two, he gained the premium for the best historical 
work, by his picture of ‘ St. Patrick baptizing the 
King of Cashel.’ His merit procured him the 
patronage of Mr. Burke, by whose kindness he was 
enabled to travel, and to visit Italy, where he 
remained four years. During his residence abroad 
he was made a member of the Clementine Academy 
at Bologna, on which occasion he painted for his 
diploma picture ‘ Philoctetes in the Isle of Lem- 
nos. He returned to England in 1770, and the 
year afterwards exhibited at the Royal Academy 
his picture of ‘Adam and Eve’ (now in the posses- 
sion of the Society of Arts), and the following year 
produced his ‘ Venus Anadyomene,’ a picture which 
gained his election as Associate of the Royal Aca- 
demy. In 1773 he became a Royal Academician. 
In 1775 Barry published a reply to the Abbé 
Winckelmann, who had asserted that the English 
are incapable of attaining any great excellence in 
art, on account of their natural deficiency of genius, 
and the unfavourable temperature of their climate ; 
it was considered a triumphant answer. He soon 
afterwards made his proposal to the Society for 
the Encouragement of Arts to paint gratuitously 
a series of six pictures, allegorically illustrat- 
ing the ‘Culture and Progress of Human Know- 
ledge” which now decorate the great room of the 
Society. This immense work he accomplished, 
without assistance, in the short space of three 
years, and it is sufficient to prove the capacious 
stretch of his mind and the abundance of his 
invention. The most important of the series is 
a view of Elysium (42 feet long), in which 
the artist painted the portraits of the great and 
good of all nations. A young lady, after look- 
ing at it earnestly, said to Barry, ‘‘ The ladies, I 
see, have not yet arrived in this Paradise of yours,” 
“Oh, but they have, madam,” replied the painter ; 
“they reached Elysium some time ago; they are 
beyond that very luminous cloud, and very happy 
they are, I assure you.” On the resignation of 
Edward Penny, in 1783, he was elected Professor 
of Painting to the Royal Academy. It is to be 
regretted that this artist’s undoubted genius and 
loftiness of mind were accompanied by a fiery and 
turbulent nature, which frequently hurried him 
into the most imprudent and outrageous intemper- 
ance of conduct. This unfortunate disposition 
produced many unpleasant dissensions with his 


88 


brother Academicians, and finally occasioned his 
expulsion from the Academy in 1799. He died in 


London in 1806 ; his body lay in state in the great 
room of the Society of Arts, and was buried in the 
crypt of St. Paul’s Cathedral. 


The principal works of Barry are his pictures at — a 


the Society of Arts, in the Adelphi, his ‘ Venus 
Anadyomene,’ ‘ Birth of Pandora,’ and ‘King Lear, 
for Boydell’s ‘Shakespeare Gallery.’ His engrav- 
ings of many of his works may be regarded as the - 
productions of a painter inattentive to that beauty 
and delicacy of execution which are looked for in the 
productions of a professional engraver. “ Barry,” 
says Allan Cunningham, ‘‘ was the greatest enthu- 
siast in art which this country ever produced ; his 
passion amounted to madness.” He was a bigoted 
Roman Catholic, cared little for the society of his 
fellow-men, and lived alone in a wretched house 
in Castle Street, Oxford Market, where Burke once 
helped to cook a steak for their dinner, while 
Barry went out to fetch a pint of porter! Barry’s — 
‘Lectures on Painting’ have been frequently 
reprinted. 

BARTH, Cart, who was born at Eisfeld in 1782, 
studied the art of engraving under J. E. von 
Miiller at Stuttgart, and thence went to Munich in 
1814, and three years later to Rome, for the im- 
provement of his art. On his return to Germany 
he was made director of the Herder Art Institution 
at Freiburg; thence he went to Frankfort. He 
subsequently visited Hildburghausen and Darm- 
stadt, where first appeared evidences of the de- 
rangement of mind which caused his death. He 
died at Guntershausen near Cassel in 1853. 
Besides his engravings, Barth left a number of 
portraits, both drawings and paintings. The 
following are his chief plates : 


Charity ; after Vogel. 
Christ and the Virgin ; after Holbein. 
The Seven Years of Famine; after Overbeck. 


BARTHELEMY, AnToIne, (or BERTHELMY,) a 
historical and portrait painter, was born at Fon- 
tainebleau about the year 1633. He was received 
into the Academy in 1663, and died at Paris 
in 1669. Another ANTOINE BARTHELEMY, likewise 
a painter, died at Paris in 1649. There was also 
Jos1sS BARTHELEMY, living in 1631, and JEAN 
BARTHELEMY, mentioned by the Abbé de Marolles, 
either of whom might have been the instructor 
of Sebastien Bourdon. 

BARTHOLOMEW, Anne CHARLOTTE, miniature. 
and flower painter, whose parental name was 
Fayermann, was born at Loddon, in Norfolk, in 
1800. In 1827 she married Mr, Turnbull, the 
composer of several popular melodies, who died 
in 1838; and in 1840 she married Valentine Bar- 
tholomew, who had acquired considerable reput- 
ation as a flower painter. She died in 1862. 
Her works were chiefly miniature portraits, and 
occasionally fruit and flowers. 

BARTHOLOMEW, VALENTINE, who was born 
in 1799, was an early member of the Society of 
Painters in Water Colours, which he joined in 1835. 
He had a special talent for flower painting, a 
branch of art which he pursued with much success, 
his works being chiefly remarkable for the great 
care and the large scale on which they were car- 
ried out. ‘Azaleas’ and ‘Camellias’ are in the 
South Kensington Museum. Bartholomew held for 
many years the post of Flower Painter in Ordinary 
to the Queen. He died in 1879. 


PAINTERS AND ENGRAVERS. 


BARTLETT, Wiiu1am Henry, a topographical 
landscape painter, was born at Kentish Town in 
1809. In 1823 he was articled to John Britton, the 
architect, and the author of several well-known 
illustrated works on topography. Here —as the 
latter in a biographical sketch informs us—Bartlett 
in the course of the year surpassed his associates 
in accuracy, style, and rapidity. Appreciating his 
ae talent, Britton sent him successively into 

Essex, Kent, Bedfordshire, Wiltshire, and other 
arts of England, to sketch and study from nature. 

e went next, in a similar way, to Bristol, Glouces- 
ter, and Hereford, and executed a series of elaborate 
drawings of the sacred edifices there for Britton’s 
‘Cathedral Antiquities of England.’ He afterwards 
made similar sketches for the work entitled ‘Pictur- 
esque Antiquities of English Cities.’ But Bartlett’s 
artistic tours were not confined to the British 

mpire alone; they extended to all the four 
quarters of the globe. Previous to going abroad, 


he travelled over many parts of England, Wales, 


Scotland, and Ireland, and next visited France, 
Spain, Germany, Switzerland, Holland, and Bel. 
gium; the United States and Canada; Constan- 
tinople, Asia Minor, Syria, Italy, Greece, and the 
Grecian Archipelago; Palestine, Egypt, Sinai, 
Petra, and the Arabian deserts. He thrice ex- 
plored the East, first in the years 1834 and 1835, 
again in 1842— 1845, and a third time in 1853. 
He made four voyages to America, between the 
years 1836 and 1852. No less than nineteen large 
volumes in quarto, containing more than 1000 
engravings from his drawings, are devoted to 
those countries and districts, nearly the whole of 
which contain copious and interesting letter-press 
from the pen of Dr. Beattie, who accompanied the 
artist in some of his voyages and travels. In 
addition to these works, Bartlett showed, in the 
following publications, that he could exercise a 
skilful pen, as well as a rapid pencil : 


Walks about Jerusalem. 1845. 

Forty Days in the Desert. 1848. 

The Nile- Boat, or Glimpses of Egypt. 1849. 

The Overland Route. 1850. 

Footsteps of Our Lord and nis Apostles in Syria, 
Greece, and Italy. 1851. 

Pictures from Sicily. 1852. 

The Pilgrim Fathers. 1853. 


A new volume, on ‘Scripture Sites and Scenes,’ 
was in the press, when the artist died, on board 
the steamer ‘Egyptus’ on its passage homeward 
between Malta and Marseilles, in 1854. 
BARTOLI, Domznico. See Guxzzi. 
BARTOLI, Pierro Santi. See Sant. 
BARTOLI, TappxEo (or TAppEOo DI BARTOLO), was 
born at Siena about 1363. The earliest specimen 
of his art is an altar-piece, representing ‘St. Peter,’ 
painted for San Paolo of Pisa, and dated 1390: it 
is now in the Louvre. In 1395 he finished an 
altar-piece of the ‘Virgin and Child with Saints,’ 
for a chapel in San Francesco, Pisa, which is now 
in Vienna; he afterwards adorned the entire chapel 
with frescoes of the figures of Saints, and the ‘ Life 
of the Virgin.’ In 1400—1401 Taddeo painted in 
the Palazzo Pubblico and other buildings in Siena; 
but of the works he executed then only nine small 
panels, representing nine sentences of the Creed, 
exist. They are in the cathedral. Soon afterwards 
le decorated the cathedral with frescoes represent- 
ing Paradise and Hell. There are preserved in the 
hall of the Palazzo Pubblico, of the same city, two 
paintings that were formerly in the cathedral; the 


first is an altar-piece representing St. Gimignano, 
with a model of the town in his hand, giving the 
benediction ; its side panels contain four subjects 
drawn from that Saint’s life ; the second is a panel 
with a ‘Madonna and Child and four Saints.’ In 
1403 he painted, at Perugia, an altar-piece repre- 
senting the ‘ Virgin and Child, with St. Bernard 
and two Angels,’ which is now in the Academy of 
that city. A ‘Descent of the Holy Ghost,’ also 

ainted in 1403, in the church of Sant? Agostino at 

erugia, where it may still be seen, is especially to 
be admired. In 1404 Taddeo had again returned 
to Siena, and recommenced his works at the 
cathedral, at his former salary of twelve and a half 
florins a month. These frescoes have all likewise 
disappeared. In that same year he was appointed 
an ‘Executore di Gabella,’) and executed the 
‘ Nativity,’ still kept in the church of the Servi at 
Siena. In 1405 Bartoli executed four frescoes 
behind the high altar, painted the organ-doors, and 
filled a window in the choir of the cathedral with the 
‘Ascension of the Virgin.’ In the years 1406 and 
1407 he was occupied at the renewal of the decora- 
tions in the chapel of the Palazzo Pubblico, Siena, 
as also in the passage leading from the Hall of 
Peace to the Hall of Council, in the same building ; 
and he adorned the Gallery with figures of Ancient 
Romans whose characters symbolized best the vir- 
tues of Magnanimity and Justice; beneath these 
effigies ran a sentence exhorting the beholders to 
imitate these virtues. In 1409 Taddeo painted 
the ‘Annunciation,’ between SS. Cosmo and Damian, 
now in the Academy of Siena. In 1410 he went 
to Volterra, where he worked for the church, and 
for the Company of San Francesco. Of these 
labours, all that now remains is an altar-piece, with 
the ‘ Virgin, Child, and four Saints,’ in the Cap- 
pella San Carlo of the cathedral of Volterra. In 
the years 1412, 1416, and 1420 he was again pro- 
moted to the Supreme Council of Siena, and he 
died in 1436(?). ‘Taddeo Bartoli upheld the Sienese 
school by the excellence of his painting, but he 
did not raise it above the style of his predecessors. 
The chief merit of his work lies in the dignity and 
originality of the invention. Some of his small 
pictures do him still greater honour than his larger 
works, and show an imitation of Ambrogio Loren- 
zetti, his great prototype, and also the subdued and 
agreeable style of the Sienese school. 

BARTOLINI, Giosrrro Maria, was born at 
Imola in 1657, and studied at Bologna under 
Lorenzo Pasinelli. There are several of his works 
in the public edifices at Imola, which are highly 
esteemed, particularly a picture representing a 
‘Miracle wrought by St. Biagio,’ in the church of 
San Domenico. He died in 1725. 

BARTOLO pi FREDI was born at Siena about 
1330, and was registered in the Guild of that city 
in 1355; he had several children, who all died 
before him, with the exception of Andrea Bartoli. 
He was the companion of Andrea Vanni from 
1353, and was employed in the decorations of the 
Hall of Council, at Siena, in 1361. In 1362 he 
went to San Gimignano, where, according to Vasari, 
he had already in 1356 painted the entire side of 
the left aisle of the Pieve with scenes drawn from 
the Old Testament. In 1366 the Council of the 
city of Gimignano ordered of him a painting, 
representing ‘Two Monks of the Augustine Order, 
to be placed in the Palazzo Pubblico, in order to 
commemorate the settlement of some disputes 
which had long existed between that order and 

89 


aie eee 


A BIOGRAPHICAL DICTIONA 


the city. In the early part of 1367 he returned to 
Siena, and was employed with Jacomo di Mino in 
the decorations of the cathedral. In 1372 he rose to 
a position in the government of the city, and was 
sent to welcome the new Podesta, on his approach 
to Siena. In 1381 he was himself made a member 
of the Council, and in 1382 he executed the ‘ Descent 
from the Cross,’ now in the Sacristy of San Fran- 
cesco, Montalcino. The same church also possesses 
panels painted by him containing the ‘ Baptism of 
Christ,’ figures of SS. Peter, Paul, and Francis, and 
five scenes from the life of St. Philip of Montalcino. 
In 1388 he completed an immense altar-piece for 
the same church, which was originally in the 
resemblance of the front of a cathedral, with a 
central and two side gables, flanked by two towers. 
The centre gable is still in the church, and repre- 
sents the ‘ Coronation of the Virgin ;’ the remaining 
portions, with scenes from her life, are all in the 
Academy of Siena. The same gallery also pos- 
sesses an ‘Adoration of the Magi,’ by this artist. 
In 1389 Bartolo, assisted by Luca Thomé, painted 
the altar-piece for the Shoemakers’ Company, in 
the cathedral, and continued from that year until 
his death to furnish altar-pieces for the cathedral 
and other churches of Siena, which have now all 
disappeared. His death occurred in 1409. 

In the Louvre at Paris there is a ‘ Presentation 
in the Temple,’ by him. 

BARTOLOME. See BREENBERGH. 

BARTOLOMMEO betta GATTA. See DELLA 
GATTA. | 

BARTOLOMMEO pr PAGHOLO ope Far- 
TORINO—commonly known as FRA BARTOLOMMEO, 
or Baccio (the shortened form of Bartolommeo)— 
was also called DELLA Ports, because he resided 
near the gate of San Pier Gattolini (now the Porta 
Romana), in Florence. He was born at the village 
of Soffignano, near Prato, in 1475; and in 1484 
entered the studio of Cosimo Rosselli, at Florence, 
where he had for a fellow-pupil Albertinelli, with 
whom he commenced a friendship which lasted 
until the bonds were broken, in 1515, by the death 
of Albertinelli. After passing some years under 
Rosselli, Baccio applied himself to an assiduous 
study of the works of Leonardo da Vinci, whose 
grandeur of relief, and admirable chiaroscuro, were 
the particular objects of his admiration. In com- 
pany with his friend, Mariotto Albertinelli, he 
modelled and copied from the ancient bassi-rilievi, 
by which he acquired a breadth of light and shade, 
which is one of the most striking characteristics of 
his style. His first works were of a small size, and 
very highly finished, gracefully composed and de- 
signed. A romantic event in his youth induced him 
to adopt the monastic life. Whilst still a pupil of 
Cosimo Rosselli, he listened eagerly to the preach- 
ing of the fiery Dominican, Fra Girolamo Savona- 
rola, and became one of his most ardent disciples. 
He even burnt his studies in the kind of auto-da-fe 
made by the people on the Shrove Tuesday of the 
year 1489, in the square before the convent of St. 
Mark. When, after a reign of three years over 
Florence, the Italian Luther was obliged to shut 
himself up in the convent of which he was the 
prior, and to undergo a siege, Bartolommeo was at 
his side, and, in the heat of the combat, made a 
vow to adopt the monastic life if he escaped the 
danger, and he took the vows in that same con- 
vent of the Dominicans of San Marco, in 1500. 
Hence his name of ‘Il Frate. He remained four 
whole years without touching a pencil, and when 
eg at length to the solicitations of his 

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friends, his fellow-monks and his superiors, it was 


on condition that the convent should receive all Y 


the produce of his labours. | 
In 1498 and 1499 Fra Bartolommeo 


Santa Maria Novella, the lower part of which was 
finished by his friend Albertinelli; and in 1509 he 


entered into a partnership with that painter. When ~ 
Raphael visited Florence, about 1506, he formed 
a friendship with Fra Bartolommeo, from whom ~ 


had painted 
the celebrated fresco of the ‘Last Judgment,’ in 


i: 


z : 


a 


he received some instruction in the principles of © 


colouring and the folding of draperies, and in 


return taught the Frate the rules of perspective. 


About 1514 Fra Bartolommeo went to Rome, where : 


he painted the figure of St. Paul and part of that 
of St. Peter, which he was obliged to leave to his _ 


friend Raphael to finish—it is supposed, on account 
of ill-health. These two figures are now in the ~ 


Quirinal. 


and died there in 1517. 


His design approached to that of Raphael in 


grace and grandeur, and he surpassed him in the 


boldness of his relief, and the rich impasto of his 


colouring. Some of his rivals had accused him of 
being incapable of designing the figure on a large 
scale, and x 

masterpiece, the celebrated figure of ‘St. Mark,’ in 


the Florentine Gallery, regarded as a prodigy of — 4 


art, and which occasioned a learned traveller to 
remark, that it appeared to him a large Grecian 
statue metamorphosed into a painting. The 
jealousy of his opponents charged him with being 
ignorant of the anatomy of the human body, until 
he painted a picture of St. Sebastian, so correctly 
designed, and of so perfect a form, that it excited 
universal admiration, and was 


e refuted the calumny by painting his © “4 


judged by the | 


On his return to Florence, Fra Bar- q 
tolommeo executed a few works of great merit, 


monks to be too beautiful a figure to be publicly __ 


exposed in their church. : 


The following is a list of some of Fra Barto- _ 


lommeo’s principal works : 


Berlin. Museum. The ee (part by Alberti- 
nelit), _ 

Florence. Pitte Palace. Marriage of St. Catharine, 1512 
(part by Albertinelit). q 

f ot Entombment. 

ss MS Pieta. ‘ 

a is St. Mark. 

4 Uffizr. Patron Saints of Florence (part by 
A lbertinellt). 

» » Virgin enthroned with Saints (his 
last work). 

Pe os Salvator Mundi. 

»  S.M. Nuova. The Last Judgment. Fresco. 

London. Nat. Gall. Holy Family (there zs little of the 
artist’s own work left in thas 
picture). 

- Mond Gall. Holy Family. 
,», Northbrook Gall. Holy Family. 

Lucca. Museum. God, the Father, adored by St. 


Catharine of Siena, and Mary 

Magdalene (painted zn 1509 for 

San Pietro Martire, Murano). 
Madonna della Misericordia, 1515. 


Holy Family. 1509. 


The Virgin and Saints, presiding 
at the Marriage of St. Catharine. 
1511 (originally in San Marco, 
Florence). 


Panshanger. (Lord rv 
Cowper) § 


Paris. Louvre. 


9 2? 


dated 1515). 
Petersburg. Hermitage. Madonna with Angels. 
Pian di Mugnone. Two frescoes (dated 1515, 1517). 
Richmond. Sir F. Cook. Holy Family. 
Corsini Pal. Holy Family (dated 1516). 
Gallery. Presentation in the Temple. 


Rome. 
Vienna. 


The Annunciation (signed and 


BARTOLOMMEO DI PAGHOLO 


CALLED 


PRAGBARTOLOMMEO 


A i 
| 

i 
dl 
| 
| 


| Lhe Cathedral, Lucca 


Alinari photo | 


THE VIRGIN AND CHILD ENTHRONED WITH SAINTS 


+ eae ae 


Ce ee ne ns ee oa Ee tee er ae 
2 a tae’ ae i . 
ae Oe oe i Vg ; / ; } 

_—_ 4 “8 Mop f ; D A a . “ 


« / , 


BARTOLOMMEO DI PAGHOLO 


CALLED 


FRA BARTOLOMMEO 


PORTRAIT OF SAVONAROLA 


ee en 


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E | i= . ; PAINTERS AND ENGRAVERS. 


ee BARTOLOMMEO pr TOMMASO was a painter A set of Portraits of Illustrious Persons of the time of 
| who flourished in the early part of the 15th century, Henry VIII.; after drawings by Holbein; in the 
_ and was of Umbro-Sienese education. He painted Royal Collection. : 

a ‘Virgin and Saints” in 1430, for the church of Two Portraits of Henry and Charles Brandon, sons of 


te en, ee , the Dukes of Suffolk; after two miniatures by Hol- 
San Salvadore, at’Foligno, There also exist other peter aavaled ec eglauie <i very fae! 


| paintin 8 by him in the churches of that city. Socrates in Prison ; after Angelica Kauffmann. 
BARTOLOMMEO, Nerroccio pi. See Dr’ LAnpI.| Penelope lamenting Fale : ie rice ioe Kauffmann. 
_ BARTOLOMMEO VENEZIANO. Sce Venezi-} ‘Telemachus and Mentor in the Isle of Calypso; after the 
- ANO, BARTOLOMMEO. to ae ante ee 
BARTOLOZZI, Francesco, a celebrated en- Paulus Emilius educating his Children; after the same. 


7 : Coriolanus appeased by his Family; after the same. 
& graver, was the ao of a goldsmith of Florence, The Interview of Edgar and Elfrida fe her Marriage 
| where he was born in 1725. He was instructed in with Athelwold; after the same. This plate was 


drawing by Ferretti at Florence, and learned begun by the unfortunate Ryland, and was finished 
the art of engraving from Joseph Wagner at by Bartolozzi for the benefit of his widow. : 

_ Venice. His first productions were some plates ae Jobn ratifying sage haar a ter. Mortemers 

| after Marco Ricci, Zuccarelli, and others, engraved Ta a cre A a ah a an ack ac 
whilst he was in the employment of Wagner. But! The Portrait of Carlo Cignani; after C. Maratti. 

the theatre destined for the display of his talents} The Portrait of Pietro da Cortona; after the same. 

' was England, where he arrived in 1764. Soon} Prometheus devoured by the Vulture; after Michel- 

| after, he was appointed engraver to the king with angelo. 

| a salary of £300 a year, and in 1768 he was| The Bustof Michelangelo, 

| made @ Royal Academician. Few artists have | Comelis, Mother ofthe Grucci: aftr Wot. 

| pened so distinguished a rank in their profession| ‘4 Gollection of Gems, designed by various artists, 
as J hens Bupa that in every ce ag of mili engraved by Bartolozzi. 

ing. Hise gs, Im imitation of the drawings o 

the most eminent painters, admirably represent F pel te Mey ARTES? Lee es ae of 
the spirit of the originals, and he was not less |) 7 O°8°° Varto0221, was Dorn In erie dg 
successful in the exquisitely finished plates he also an engraver, but of no great celebrity. He 
p roduced in the various styles he practised. In| ¥®® the father of the celebrated Madame Vestris. 

. eaeen He died in 1821. 

1802 Bartolozzi accepted the post of director of . 

the National Academy of Lisbon, where he died in BARTSCH, = eee seas gee Geman 
Meee tenable im the exercise of his art,|() OVO 782 Orn 8) iennam fore onwenee 

pox g oe athe achool of that city, and studied 

| Bartolozzi has left us a prodigious number of | 7° 9°70), OF oy etavers In what ony; anc Studie 

: there under Schmiitzer. In 1775 he published 

lates, and the only embarrassment we experience ase a adin GiGhe the. reien Tok Maria 

is in selecting as copious a list of his works as gn S 8m 


dar : : : ene Theresa, and subsequently engraved numerous 

ee ee a epee po SBBVEDE THEN plates, some from the works of great masters, and 
hes y , some from his own compositions. He died at 
PLATES WITHOUT THE NAME OF THE PAINTER, Hietzing in 1821. He was principal keeper of the 


it ——~ 


SOME FROM HIS OWN DESIGNS. Imperial and Royal Gallery at Vienna, and author 
Abraham and the Angels; an etching. of that very elaborate, correct, and useful work, 
The Miracle of the Manna; an etching. ‘Le Peintre Graveur,’ which may be safely pro- 
Job abandoned by his Friends. 


: Sasa : nounced the best account of prints ever published. 

The Odgin oe Bae nae nila For this work he etched a series of fac-similes of 
The Virgin and Infant; circular. unique or extremely rare etchings by Dutch and 
Flemish artists, in which the touch and spirit of 
PLATES AFTER VARIOUS MASTERS. the originals are admirably copied. He also pub- 

St. Francis of Sales triumphing over Heresy after | lished Catalogues of the Etchings by Rembrandt 
Amiconi. and his scholars, of the works of Guido Reni, and 


Agowerelry fing the Portrait of the Virgin; after! of those of Lucas van Leyden, and other artists. 


The Adulteress before Christ; after Agostino Carracci. 

Roland and Olympia; after Annibale Carracci. 

Clytie; circular; after the same. caren petabeee Wand einaee 

A set of six plates; after original drawings by the ate Lad are a Ni Pe 1785 
Carracci ; in the Royal Collection, in imitation of the ea st Se ? 


PORTRAITS. 


drawings. Michael Wohlgemuth, painter. : 
A set of eight subjects; after Castiglione eee me da Correggio; after Carlo Marattt. 
: tt ee Lee adame Tscida. 
ee pon 5 hei A Girl reading by Candlelight, said to be after Guido. 
seis restored to her Father - after lh hiase. The Marriage of Alexander and Roxana; after Parmi- 
ido « ; ( giano. : 
ee ‘4 saaheng he * aft Re A set of thirty-nine plates, in imitation of the drawings 
Vooks presenting the Cestus to Juno; after the same of several masters, in the Imperial Collection. 
Venus attired by the Graces; after t 5 A ; ig in of Animals; after J. H. Roos ; four on 
rminia: : : each plate. 
ors i aoa A pegs aetna A Traveller passing a Forest, with a Boy holding a 
Shakespeare crowned by Immortality ; after the same Lantern; engraved in the manner of Kembrandt. 
Rachel hiding the Idols of her Father; after Pietro da bi en of Publius Decius Mus, large plate ; after 
Cortona. mene 
m attacked by the Serpents; after the same. aoe he fi aomprat 
The Death of Lord Chatham ; after Copley. vA rt after Ru ‘Syed de 
The Virgin and Infant; after Carlo Dolci. Poar-pont 3. after nnijders. 


A - mer cen _ pie io sora ay by Domeni-| Hig gon, FRIEDRICH VON Bartscu, published in 
reaty.throo meine, aka 4 Page or eighty-one from | 1818 a catalogue raisonné of all the prints by his 
; drawings by Guercino ; in the Royal Collection. father; they amount to 505 pieces. 91 

| 


A BIOGRAPHICAL DICTIONARY OF — Seat) 


BARTSCH, GorTrRiED, a German engraver, was 
a native of Schweidnitz in Silesia. He settled at 


Berlin, and was engraver to the ‘Great Elector’ 


from 1674 to 1684. By him we have a small col- 
lection of prints from the pictures in the Gallery 
at Berlin. He also engraved the following 
plates : 


The Holy Family ; after Van Dyck. 
Meleager presenting the Head of the Boar to Atalanta ; 
after Rubens. 


BARUFFALDI, Antonio, was born at Ferrara 
in 1793, studied at Venice, and died in 1819. The 
gallery of his native city possesses a ‘ Virgin read- 
ing’ and a ‘Tancred and Armida,’ by him. 

BARVEZ. See Brervic. 

BARWELL, Henry GEORGE, was born in 1829. 
His pictures, which he painted in water-colours, 
represent landscapes from English scenery. A 


few of these, from the year 1878, he exhibited in. 


London at the Royal Institute of Painters in Water- 
Colours, and also at the Grosvenor Gallery. He 
lived at Norwich, and died there in 1898. 

BARY, HEnprIk, (or BarRy,) an eminent Dutch 
engraver, was born about the year 1626. He 
appears from his style to have been either a scholar 
of Cornelis Visscher, or to have formed himself 
from his manner. We have several plates by him 
of portraits and various subjects, executed very 
neatly with the graver, which have great merit, 
although they are by no means equal to the works 
of Visscher. He generally marked his plates with 
his name, H. Bary, and sometimes H. B. By him 
we have the following: 


PORTRAITS. 


Dirk and Walther Crabeth, glass-painters, 
Adriaan Heerebord. 1659. 

Hieronimus van Bivernink. 

Desiderius Erasmus, of Rotterdam. 

Willem Joseph Baron of Ghent, admiral of Holland. 
Rombout Hagerbeets. 

Annius Manlius Torquatus Severinus Boethius. 
Jacobus Taurinus, 

Count Johann Waldstein. 

La Duchesse de la Valliére. 

Hugo Grotius; after Mirevelt. 

Cornelis Ketel, painter; se ipse ping. 1659. 
Jacob Backer, painter; G. Terborch pinz. ; oval. 
John Schellhammer, pastor ; Escopius del. 

John Zas, pastor; Chr. Pierson pinz. 

Jacob Batiliere, predicant; Westerbaem pinz. 
Arnold Gesteramus, predicant ; Westerbaem pinz. 
Michael Ruyter, admiral; after F. Bol. 

Admiral Vlugh; after B. van der Helst. 

Leo Aitzema, historian; after Jan de Baan. 
George de Mey, theologian ; after C. van Diemen. 


SUBJECTS AFTER VARIOUS MASTERS, AND AFTER 
HIS DESIGNS. 
Neptune, emblematical. 


Allegorical title for the work of Leo van Aitzema. 
A Mother suckling her Child. 


Two Drolleries; after Brouwer; H. Bary fee., without 
the name of the painter. 

A Peasant Family; after Pieter Aertsen. 

Summer and Autumn, in one plate, represented by two 
5 apoeicr one holding a handful of Corn; after Van 

yck. 

A young Woman leaning on a Table sleeping, and a 
young Man laughing; after the same. 

A young Lady sitting at a Table, with a Hat and 
Feathers ; after Terborch. 


BARYE, Anrorng Louis, born in Paris in 1795, 
was a successful sculptor who also painted in water- 
colours and etched several plates; he was a pupil 
of Gros. He received the decoration of an officer 
of the Legion of Honour in 1855, and was elected 


92 


« 
» 


a member of the Academy in 1868. He died in 
Paris in 1875. 7 . a 
BAS, Jacques Puinirpe te. See Le Bas, ~~ 
BAS, Martin, (or BassE,) a Dutch engraver, who — 
flourished about the year 1600. From the style 
of his plates, it is very probable that he was 
brought up in the school of Wierix; his engrav- — 
ings are evidently in imitation of the manner of © 
that master. He was chiefly employed in portraits. — 
We have by him the portrait of Edmund Genungs, ~ 
Jesuit, prefixed to his ‘ Memoirs,’ published 1591; — 
the portrait of Philip Bosqueri, marked Mart. 
Basse ; and a small frontispiece of ‘St. Peter and — 
St. Paul,’ dated 1622. . x 
BASAITI, Maroo, a native of Friuli, was born, — 
according to some authorities, of Greek parents, — 
and flourished from about 1503—the date of his — 
earliest known work—to 1520. He was a rival — 
of Giovanni Bellini, and if he did not equal that — 
master in every respect, there are some points in 
which he surpassed him. He was happier in his — 
composition, and understood better how to unite his 
grounds with his figures. His pictures are signed — 
M. Baxit, Marcus BaxalTi, or Marcus BasAITi, — 
The following are his best works: 


Pieta. | . q 


Berlin. Museum. : 
5 i St. Sebastian. Se 
London. Nat. Gall. St. Jerome reading. SS 
5 = Infant Christ asleep on the lap of 
the Virgin (doubtful). $ 
Rovigo. Museum. Christ carrying the Cross (probably 
ainted in 1517.) 4 
Venice. Academy. christ praying in the Garden (dated 4 


1510), . 
Calling of St. James and St. John 
(painted in 1510). 
A Dead Christ with Two Angels. 
And others. ha 
- Manfrini G. A Madonna and Child. 4 
eS S. Pietro d.) St. George and the Dragon (dated 


99 99 g 


99 99 


Castello.$ 1520). 
Vienna. Belvedere. Calling of St. James and St. John 
(dated 1515). 


BASAN, PrieRRE FRANQOIS, a French engraver, — 
born in Paris in 1723. He was a pupil of Etienne — 
Fessard and Jean Daullé. He was principally — 
occupied as a printseller, and published a ‘ Diction- 
naire des Graveurs’ in 1767. He died in 1797. 
He engraved the following plates: 


The Gothic Songster ; og A. Both. 

An Ecce Homo; after Caravaggio. 

Christ breaking the Bread; after Carlo Dolci. 

St. Maurice; after Luca Giordano. 

Bacchus and Ariadne; after Jordaens. 

Christophe Lemenu de St. Philibert; after Le Feévre. 

Louis XV., with Diogenes; after Le Moine. 

The Female Gardener; after Frans Mieris, 

The Card-players; after Teniers. 

An Incantation; after the same. 

Carle Vanloo. a 

Armand Gaston de Rohan, called the Cardinal de — 
Soubise. 7 


es, es ; ee = ‘ 5 
Pe ct cE LAAN SOIT NS 8 EPIRA yh a et SA oe Pa yeti dno 
5 SS 


Pan OE Ts thee 


noes 


He also executed several copies after the scarce 
etchings of Rembrandt. = 
BASCHENIS, Evarisro, a native of Bergamo, — 
born in 1607, or 1617 (for authorities differ), was a — 
painter of the Venetian school. He was among the ~ 
first to introduce in Italy what is now termed paint- 
ing of still-life. He painted musical instruments — 
with much effect, arranging them on tables covered 
with the most beautiful tapestries, and mingled 
with various other objects. From these materials 
he produced pictures with so much skill as quite 
to deceive the spectator. He died in 1677. ¥ 


—————eEeEeEeEeEeEeEeEeEeEeEeEeEeEeEeEeEeEeEeEeeEEeEEeEe——————EEE =e 


MILDNESS 


BARTOLOZZI 


ie 


[ee ; ie a, en eee ak ne 


ce Rn AT TL LT 


F. BARTOLOZZI 


VENUS IN HER CHARIOT 


> 


|  BASHKIRTSEFF, Marra ConsTaNTINovA, was 
| born at Gavrontsi in Russia in 1860. She was 
| brought up by her mother, who was living apart 
| from her husband, Marshal Bashkirtseff, in Italy, 
_ and in Germany, and received an education far in 
advance of that usually given to girls. She was 
a clever musician from a child, able to speak four 
_ European languages with facility, and to read Greek 
and Latin with accuracy. -In 1877 she settled in 
Paris and took lessons from T. Robert-Fleury. Her 
first exhibited picture was a portrait, followed in 
_ 1881 by ‘Atélier Julian, 1882 ‘Jean et Jacques,’ 
1884 ‘The Meeting.’ She died of rapid consumption 
in 1884. She will be better known by her remark- 
able autobiographical diary and by her correspond- 
enceunderanom de plume with Guy de Maupassant, 
and by her acquaintance with Bastien-Lepage, 
rather than by her own exhibited works, clever as 
they undoubtedly are. See the writings of M. 
Blind on Marie Bashkirtseff 1890, 1891, and 1892. 
| BASILETTI, Luter, who was born at Brescia in 
_ 1780, and died in 1860, is the author of a ‘ Cascade 
_ at Tivoli,’ in the Brera at Milan. 
_ _ BASILI, Prerro Anetoio, was born at Gubbio 
| about 1550. He was first a scholar of Felice 
| Damiani, but afterwards studied under Cristofano 
Roncalli, whose manner he followed, though in a 
more delicate style. His fresco paintings in the 
'-cloister of Sant’ Ubaldo in Gubbic are much 
esteemed ; and in the church of San Marziale is a 
picture in oil of ‘Our Saviour preaching,’ with a 
| great number of figures. Basili died in 1604. 
_ BASILICATA, Pierro petLa. See AFESA. 
-BASIRE, JAmzEs, a son of Isaac Basire, an 
engraver of maps, was born in London in 1730. 
Early in life he went with a patron to Rome and 
copied the works of Raphael. In 1760 he became 
engraver to the Society of Antiquaries, and ten 
years afterwards to the Royal Society. He assisted 
in the production of Stuart’s ‘Athens,’ and engraved 
_ several good portraits of eminent men. He died 
| in London in 1802. Among his other works were: 
Captain Cook; after Hodges. 

Lady Stanhope, as the Fair Penitent; after B. Wilson. 

Lord Camden; after Reynolds. 

Orestes and Pylades before Iphigenia; after West. 

The Field of the Cloth of Gold: the Interview between 

Henry VIII. and Francis I.; after the picture at 
Hampton Court. 

BASIRE, James, a son of the elder painter of 
the same name, was born in 1769, and followed 
his father’s profession. He engraved many of the 
architectural plates in John Carter’s works on 
‘The English Cathedrals.’ He was engraver to 
the Royal Society and the Society of Antiquaries. 
He died at Chigwell Wells in 1822. His son, 
JAmeEs Basire, born in 1796, was likewise engraver 
to the Society of Antiquaries, and assisted in many 
of Richard Gough’s architectural works. He died 
in London in 1869. 

BASSANO. See Ponte. 

BASSANO, Cesarz, a painter and engraver, was 
born at Milan about the year 1584. We have no 
account of his works as a painter, but he engraved 
the following plates: 

Portrait of Gaspar Assellius. 

A Funeral Frontispiece of Francesco Piccolomini. 

The Nativity. 


BASSE, Martin. See Bas. 
BASSELLI, Danre.1o, is mentioned by Strutt 
as the engraver of a print represerting ‘ Daniel in 


PAINTERS AND ENGRAVERS. 


the Lions’ Den,’ after P. Caton. It is etched and 
retouched with the graver in a very slight style. 

BASSEN, BARTELMEES VAN, painter and archi- 
tect, flourished from 1613 to 1650. He painted at 
Delft, at the Hague, and in England. Neither the 
date of his birth nor that of his death is recorded. 
He was a Flemish painter of the interiors of 
churches and other public buildings, which he 
executed in a very skilful manner, both with re- 
gard to perspective and lively colouring. The 
figures in his pictures were frequently executed 
by eminent painters of his day, to whom he re- 
turned the compliment by supplying their archi- 
tectural wants. Among his works are: 


Berlin. Museum. Interior of a Church; signed B. 
VAN Bassen, 1624, and under- 
neath F, FRANCK FIGURAVIT. 

Interior of a room—with figures. 

View of a Church, B. vAN BassEN, 
1623. 


An Interior. 


Copenhagen. Gallery. 


Darmstadt. Gallery. Interior of a Room with figures, B. 
v. BassEn. 
Hague. Museum. Interior of a Church; signed B. 
VAN BassEN, 1626. 
BASSEPORTE, MApELEINE FRancoIsE, the 


daughter of a wine-merchant, was born in Paris 
in 1701. She was a pupil of Paul Ponce Antoine 
Robert, and afterwards of Charles Aubriet, whom 
she succeeded in 1741 as miniature painter to the 
king. She taught the daughters of Louis XV., 
and executed a large number of water-colour 
drawings of animals, plants, and flowers, many 
of which are in the library of the Jardin des 
Plantes. She engraved some plates for the Crozat 
Collection and others. We have by her: 


The Martyrdom of St. Fidelic de Sigmaringa; after 
P. P. Robert de Seri. 

Diana and Endymion; after a design of Sebastiano 
Conea. 


There are also three books of flowers, drawn 
from nature, by her, and engraved by Avril. Mlle. 
Basseporte died at the Jardin du Roi in Paris in 
1780. 

BASSETTI, Marco ANTONIO, was born at 
Verona in 1588, and was a scholar of Felice Ricci. 
He afterwards visited Venice, and studied the 
works of the excellent colourists of that school, 
particularly Tintoretto, whose style he preferred. 
On leaving Venice he went to Rome, where he 
remained for a considerable time. On his return 
to Verona he was employed in painting some pic- 
tures for the public edifices in that city. For the 
church of San Tommaso he painted a picture of 
‘St. Peter and other Saints,’ and for Sant’ Anastasia, 
the ‘Coronation of the Virgin.’ By these and other 
works, particularly specified by Ridolfi, he acquired 
reputation as an eminent historical painter, but he 
was cut off in the prime of life by the plague 
which visited Verona in 1630. His works were 
highly prized, but he left very few, as his maxim 
was, that painting ought not to be pursued by 
journeymen as a mechanic art, but with the leisure 
that is bestowed on literature for the sake of the 
pleasure it affords. In the Munich Gallery there 
is a ‘Martyrdom of St. Vitus,’ by him. ; 

BASSI, Anronio. Several of the works of this 
painter are mentioned in descriptions of the pic- 
tures and sculpture of Ferrara, of which city he 
was a native. In the church of San Giovanni 
Battista were two pictures by him, one represent- 
ing the ‘Holy Family reposing in Bee oa 


6 


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A BIOGRAPHICAL DICTIONARY OF 


other, ‘Our Saviour and the Samaritan Woman;'’ 
and in the church of San Clemente was the ‘ Virgin 
Mary, St. Anne, and St. Joachim.’ He died in 1782. 

BASSI, Francesco, was born at Bologna in 
1652 (?), and was, it is said, a scholar of Lorenzo 
Pasinelli. According to other authorities he was 
a scholar of Cesare Gennari and of Guercino. He 
painted numerous pictures in the public edifices at 
Bologna, and also worked at Florence. He died 
in 1732 (?). He was distinguished as a copyist 
and imitator of Guercino. 

BASSI, Francesco Marta, ‘the elder,’ was born 
at Cremona in 1642. He acquired the name of ‘II 
Cremonese dei Paesi,’ from his eminence in paint- 
ing landscapes, which he touched with great spirit, 
and at the same time sufficiently finished. He 
decorated them with figures and animals, tolerably 
drawn, and neatly painted. The private collec- 
tions at Venice possess many of his pictures. He 
died about the year 1700. His nephew, FRANCESCO 
Manzi, ‘the younger,’ who studied under him, was 
a painter of no great note. He worked till 1750. 

BAST, Dominique DE, born at Ghent in 
1782, was an amateur painter of landscapes and 
cattle, and also of marine subjects, in which he 
was considered to excel, in consequence of his 
having made many voyages by sea as a merchant. 
His pictures are chiefly to be seen in Ghent in 
private collections. 

BASTARD, a painter, executed about the end 
of the 17th century a large picture, not without 
merit, of ‘Our Lord served by Angels in the 
Desert,’ for the Jesuits’ College of Palma, the 
capital of the island of Majorca. No other record 
of his work or life has been preserved. 

BASTARO, GiusEPPrE DEL. See PuGLia. 

BASTARUOLO, It. See Mazzvoii, GIUSEPPE. 

po BASTIANI, Lazzaro, a Venetian artist, lived in 
the latter half of the 15th century. His early 
pictures show his Paduan education. He was an 
imitator of Vivarini. In 1470, he was an honoured 
member of the College of San Girolamo, Venice ; 
and in 1508 was chosen by Bellini to value 


Giorgione’s frescoes; he also received the com- | ( 


mission to paint the Portraits of the Doges, in the 
Hall of the Twenty. The dates of Bastiani’s 
birth and death are unknown. He did not paint 

. much after 1490. The following are some of his 
best works: 

Bergamo. Lochis Car- i Coronation of the Virgin ( painted 
rara Gal. in 1490). 
Academy. The Nativity (painted in 1490). 
» ~ St. Cenofrio on his tree (painted un 
1490). 

Gift of the Relic (painted for the 
scuola of San Giovanni Evangel- 
asta). 

= Correr Mus. The Annunciation. 

" Sant’Antonio.The Entombment (his earliest 
known work). 

The Glorification of St. Venaranda 

. (much damaged). 

‘, BASTIANINO. See Fiuiprt. 

“~BASTIEN-LEPAGE, Juuss, painter, was born 

at Damvillers, Lorraine, November 1, 1850. His 

parents were poor, and in his early manhood he 
had a hard struggle for existence. He began life 
as a government clerk in his native district, but at 
nineteen quitted the desk, and coming to Paris, 
entered Cabanel’s atelier. Associated as his name 
now is with an art essentially actual and realistic, 
it is curious to find him making his début in 
pseudo-pastoral in 18th century taste. One of his 
94 


Venice. 


39 93 


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» Vienna. Belvedere. 


Cupids, together with his first notable work, ‘Le 4 


earliest recorded works is ‘Women in a wood 
attacked by Cupids,’ and in 1874 he exhibited at 
the Salon a peasant girl surrounded by piping 


Portrait du Grandpére.’ The following year was — 
marked by the production of one of his most pathetic — 
and masterly studies of humble life,‘La Petite — 
Communiante.’ In this same year he competed for — 
the ‘ prix de Rome’ with a remarkable work, ‘Les — 
Bergers’ (‘The Angels appearing to the Shep- — 
herds’). ‘The art section of the Academy awarded — 
it the prize, but their decision was overruled by — 
the majority of the Council. The disappointment, — 
though severe, did him good service. An outcry — 
was raised against the injustice of the reversal, and _ 
Bastien- Lepage’sname became well known through- © 
out the country. He himself used to assert that — 
this was the starting-point of his career. Forthe 
remaining years of his life he was a prominent ~ 
figure in the French art world, and became well 
known in this country as an exponent of the tra- 
ditions of Millet and Courbet, modified by hisown 
vigorous individuality. Heis said to have expressed 
an ambition to paint a cycle of rustic subjects, 
setting forth the chief events of peasant life in 
childhood, maturity, and old age, and such pictures _ 
as ‘Les Foins,’ ‘La Saison d’Octobre,’ ‘Le Men- — 
diant,’ and ‘Pauvre Fauvette’ may be taken as _ 
links in the sequence. His ‘Joan of Arc’ of 1880, 
in which, discarding convention, he represents his 
heroine as a poor and even squalid peasant girl, 
glorified by a mystic spiritual grandeur, may be 
said to summarize his artistic idea. He died in 
Paris of cancer of the stomach, at the early age of 
thirty-six, December 3, 1884. Besides the works 
above mentioned, the following are remarkable: 


The Wood-Cutter. 
My Parents. 
Rustic Courtship. 
Portrait of the Prince of Wales. 
»> 9) Madame Sarah Bernhardt. 
,, M. Aibert Wolf, of the Paris ‘ Figaro.’ 


at 


39 


See ‘ Bastien-Lepage,’ by Theuriet, London, 1892.) 

BASTIER pvr BEZ, Jean JosErH, French land- 
scape painter, was born at Le Vigan (Gard) in 
1780. He commenced life as a money-changer, 
but afterwards became a pupil of Watelet, and 
painted a large number of views in Italy and 
France. He died about 1845. 

BASTON, Tuomas, an English painter of sea- 
pieces and shipping, flourished about the year 
1721. Several of his pictures were engraved by 
Kirkall, Harris, and others. He etched a few 
plates from his own designs; among them is a 
print representing the ‘Royal Anne,’ with other 
ships. : ; 

BATEMAN, JAMES, was bornin London in 1814, 
and at first starting in life was placed witha — 
painter on glass. Though very fond of art, this 
branch was not to his taste. He soon gave it up, 
and accepted a situation as clerk, which he held 
till 1837, in which year he received an offer from 
two gentlemen, who agreed to take all the pictures 
he produced in the first year, at the same time 
allowing him £100. He usually painted animals 
and domestic subjects, with much humour. He 
first exhibited at the British Institution in 1840, . 
and at the Royal Academy in the following year, 
continuing to do so until his death, in March 1849. 
BATHEM. See BAtTem. ‘ 
BATLEY, an English engraver in mezzotint, 


POMPEO BATTONI 


— 


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THE HOLY FAMILY 


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flc ished about the year 1770. He was chiefly 
; hee in engraving portraits. | 
_ BATONI, Pompro Grirotamo, (or Barroni,) who 


“. 


was born at Lucca in 1708, at first followed the 


profession of his father, who was a goldsmith; he 
was afterwards sent to Rome to study painting 
- under Conca and Masucci, but his chief lessons 
_ in art were derived from study of the works of 
__ Raphael. A peculiar grace and agreeableness, par- 
_ ticularly about his heads, rendered his pictures 
exceedingly popular, and his works were held in 
considerable estimation all over Europe. It was 
_ fortunate for the reputation and success of Ba- 
_ toni, that he lived at a period when the arts had 
_ fallen to a very ‘ow ebb in Italy. 
rival, and his superior, was chiefly employed in 
_ §pain ; Batoni was thus the only painter of his time 
__ at Rome that possessed the least pretension to merit, 
and he consequently met with great employment. 
He was more occupied in painting portraits than 
historical works, although there are several of his 
pictures in the public edifices at Rome. He painted 
i * the portraits of no less than twenty-two sovereigns. 
 Batoni died at Rome in 1787. The following are 
among his best works: 


4 Ee Berlin. Museum. 
Dresden. Gallery. Penitent Magdalene (copied, in 1757, 
| by Dietrich for Frederick II., King 
$e ; of Prussia). 


Bee tS Aa And others. 
Florence. Uffizi. Education of Achilles. 
ba . His own Portrait. 


Achilles at the Court of Lycomedes. 
| a Frankfort. Stédel. The five Arts (signed and dated 1740). 


Cupid and Psyche (signed and dated 
1756 


an. Brera. Madonna and Saints. 
Paris. Louvre. The Virgin. 
Rome. Corsini Pal. Nativity. 


» &%.Maria Mag. Annunciation. 


b) 
a fee Fall of Simon Magus. 


Vienna. Belvedere. Return of the Prodigal Son. 
; Portrait of Joseph II. 


_ A Life of Batoni, by Boni, was published at 
Rome in 1787. 
BATTAGLIE, MuiIcHELANGELO 
CrRQUOzzI. 
BATTEM, GERHARD VAN, (or BATHEM,) a Dutch 
landscape painter, who flourished about the year 
} 1650, and died at Amsterdam in 1690. It is sup- 
| _posed that he was a pupil of Rembrandt, as some 
of his pictures bear a resemblance to that master’s 
manner. His subjects are mountainous landscapes 
__-with banditti, travellers, and stag-hunts. 
i BATTISTELLO. See Caraccioxo. 
| BATTY, Lieutenant-Colonel Roprrt, the son 
of Dr. Batty of Hastings, was born about 1789. 
He was at one time in the Grenadier Guards, with 
which regiment he served in the campaign of the 
Western Pyrenees, and at Waterloo. He was an 
amateur artist of considerable merit. He published 
in 1822 ‘French Scenery;’ in 1823 ‘German 
Scenery ’ and ‘ Welsh Scenery ;’ in 1826 ‘Scenery 
of the Rhine, Belgium, and Holland,’ all of which 
have been much esteemed ; in 1828 ‘ Hanoverian, 
Saxon, and Danish Scenery ;’ and in 1832 ‘ Select 
Views of the principal Cities of Europe.’ He died 
in London in 1848. 

BAUDESSON, Nicotas, a French flower painter, 
was born about 1611, and received into the 
Academy in 1671. He died at Paris in 1680, leav- 

| img a son, JEAN FRANCOIS BAUDESSON, born in 
_ Paris in 1640, who was also a painter of flowers 


” +P] 


DELLE. See 


Mengs, his only | 


PAINTERS AND ENGRAVERS. 


and fruit. He became a member of the Academy 


in 1689, and died in Paris in 1713. 


BAUDET, Ertennr, an eminent French en- 
graver, was born at Vineuil, in the department of 
Loir-et-Cher, about 1636. He was a pupil of 
Sébastien Bourdon and Cornelis Bloemaert, and 
afterwards went to Rome, and appears to have 
adopted the manner of Cornelis Bloemaert in his 
earliest plates, which are executed entirely with 
the graver. He afterwards on his return to Paris 
altered his manner, and calling in the assistance 
of the point, he executed his best prints, which 
bear a strong resemblance to the manner of Jean 
Baptiste Poilly. He made an excellent choice in 
the subjects of his plates, which are from the works 
of some of the most distinguished masters of Italy 
and France. He was a member of the Royal 
Academy of Paris, in which city he died in 1711. 
The following are his principal works: 


PORTRAITS. 
Pope Clement IX. 
Charles Perrault; after C. Le Brun. 
Louisa, Duchess of Portsmouth, as Venus, caressing a 
Dove; after H. Gascar. 
Bust of the Emperor Adrian, from the antique. 
Bust of a Roman Lady. 


SUBJECTS AFTER VARIOUS MASTERS. 


The Virgin teaching the Infant Jesus to read; after 
Albani. 

The Woman of Samaria; after the same. 

Four plates of the Loves of Venus and Adonis; after 
the same ; engraved at Rome in 1672. 

Four circular prints of the Four Elements ; after the 
same ; dated 1695. 

The Nativity ; after J. Blanchard. 

The Holy Family ; after S. Bourdon ; round. 

Six Landscapes ; after the same. 

The dead Christ on the Knees of the Virgin Mary ; after 
Annibale Carracei. ) 

The Stoning of Stephen ; after the same. 1677. 

Adam and Eve; after Domenichino ; very fine. 

Six—Of the great Staircase at Versailles; after Le 
Brun ; that of the ceiling is engraved by C. Sim- 
moneau. 

The Communion of the Primitive Christians; after C. 
de la Fosse. 

Moses treading on the Crown of Pharaoh; after N. 
Poussin, 

Moses striking the Rock ; after the same. 

The Worshipping of the Golden Calf; after the same. 

The Holy Family ; after the same. 

Venus reposing ; after the same; dated 1666. 

Four Grand Landscapes; after the same ; dedicated to 
the Prince of Condé. Dated 1684. 

Four other Grand Landscapes; after the same; dedi- 
cated to the King of France, 

The Tribute Money ; after Valentin. 


BAUDITZ (or BaupisEs). See Paupirz. 

BAUDOUNN, Pierre ANTOINE, the son of MICHEL 
BAUDOUIN, an engraver of little note (who died in 
1754), was born in Paris in 1723. He was a pupil 
and imitator of Boucher, whose younger daughter 
he married in 1758, and through whose influence 
he was elected an Academician in 1763, as a 
miniature painter, on which occasion he presented 
his drawing of ‘Hyperides pleading the cause of 
Phryne before the Areopagus,’ now in the Louvre. 
Baudouin executed idyllic and erotic subjects in 
water-colours and crayons, but painted but seldom 
in oil. He died in Paris in 1769. 

BAUDOUIN, Simon Rent. This amateur en- 
graver, who was born in 1723, was an officer in 
the French Guards, and amused himself with the 
point. He etched a set of plates from his own 
designs, representing the military exercise ee on 


A BIOGRAPHICAL DICTIONARY OF aa 


French infantry. He also engraved some prints 
of battles, after the pictures of Charles Parrocel, 
and a set of small landscapes, after Michau and 
others. 

BAUDRY, Paun Jacques Aims, painter, was 
born, of humble parentage, at La Roche-sur-Yon, 
Vendée, November 7, 1828. He first studied under 
one Sartoris, at La Roche, and was afterwards sent 
to Paris with an allowance from his native city. 
In Paris he became the pupil of Drolling, and in 
1850 won the Grand Prix de Rome with a ‘ Zenobia 
found on the Banks of the Araxes,’ Four years 
in Rome were spent in the study of Michelangelo, 
Raphael, Titian, and Correggio, from each of whom 
he endeavoured to take some characteristic quality. 
During his stay in Italy he sent pictures to the 
Salon which attracted much attention, and this 
success continued after his return to Paris. It was 
in quasi-historical, decorative painting, in which 
his fine sense of balance and his pleasant colour 
served him well, that he succeeded best, and so, 
about 1865, he was invited to take part in the 
decoration of the new Opera. In preparation for 
this task he revisited Italy, made aseries of partial 
copies from Buonarroti’s frescoes in the Sistine 
Chapel, and studied Raphael at the Stanze. In 
1867 he came to England, and finished a series of 
copies from Raphael’s cartoons. The actual decora- 
tion of the Opera foyer absorbed Baudry’s energies 
for some twelve years. The subjects are single 
figures of the Muses, Polymnia excepted, and 
various scenes from mythology, legend, and even 
biblical history. Besides these decorations, Baudry 
painted much for private patrons, and at the Salon 
of 1881 he obtained the medaille @honneur for his 
‘ Glorification de la Loi,’ a ceiling for the Cour de 
Cassation. Throughout his career he combined 
portrait painting with his decorative work. Among 
his portraits, the best, perhaps, are those of Beulé 
(1857), Baron Dupin (1860), Charles Garnier (1868), 
and Edmond About (1871). In 1870 Baudry was 
elected a member of the Institute. He died 
January 7, 1886. 

BAUDUIN, AnTon Frans. See BoUDEWYNS. 

BAUER, FrErpinanp Lucas, who was born at 
Feldsburg, in Austria, in 1760, came to England 
in 1800, and obtained celebrity as a draughtsman 
for the Royal Botanical Society, and for various 
botanical publications. On a journey round the 
world he stayed some time at Botany Bay, and 
made many valuable drawings. He returned to 
Austria in 1812, and died at Hietzing, near Vienna, 
in 1826. A large collection of his drawings may 
be consulted in the British Museum. 

BAUER, Jou. Witu. See Baur. 

BAUGIN, J., a French engraver, who flourished 
about the year 1660. He engraved several por- 
traits, among which is that of H. de la Mothe. 

BAUGIN, Lupin, was born at Pithiviers (Loiret) 
about 1610. He was amember of the Corporation 
of Master-Painters, and was admitted into the Royal 
Academy of Painting in 1651. He executed many 
designs for tapestry. He studied and imitated 
Parmigiano and Guido. His contemporaries called 
him ‘ Le petit Guide.’ The ‘ Holy Family,’ by him, 
in the Louvre, has been engraved by F. de Poilly. 
He died in Paris in 1663. 

BAUGNIET, C., a well-known Belgian draughts- 
man on stone, who practised chiefly in Paris, and 
whose portraits were especially noteworthy. He 
died at Sévres, July 3, 1886. 

BAUMANN, ADoLPH, who was born in 1829, 
a historical pictures in oil and fresco at 


“ 


A ‘Madonna and 


Munich, where he died in 1865. 
Child,’ by him, is in the Pinakothek. | — 

BAUMGARTNER, Jouann, known by the name 
of Parer Norsert, was born about the year 1717, — 
He executed a number of pen-and-ink drawings, as — 
well as historical paintings. He was a member of — 
the Academy of Vienna, in which city he died in 
1773. P. Campana engraved his picture at Rome — 
of ‘St. Dominic kissing the hand of the Child — 


Jesus.’ There also exist by him: 2 
Bologna. Capuchin Mon. The Magdalene. i. 
Presburg. Academy. Holy Family. 
Vienna. Capuchin Mon. Mary when a Child before the — 
High Priest. i: 


a3 * Death of St. Joseph. 


BAUR, JoHANN WILHELM, (or BAUER,) a painter — 
and engraver, was born at Strasburg in 1600. He ~ 
studied painting under Friedrich Brentel, and it — 
was not long before he surpassed his instructor. — 
On leaving that master he went to Italy, and spent — 
some years at Rome, where he painted views of — 
that city and environs, with small figures, neatly 
touched, which were greatly admired. The Prince — 
Giustiniani favoured him with his protection; and 
he was also patronized by the Duke of Bracciano, — 
who allotted him apartments in his palace. — 
In 1637 Baur left Rome, and went to Venice, — 
where his works were equally admired. He after- 
wards visited Vienna, and was taken into the — 
employment of the Emperor Ferdinand III., in — 
whose service he died, at Vienna, in 1642. His — 
pencil is very neat and spirited, and his colouring 
warm and glowing. It is to be regretted that he — 
was not more correct in his design. As an en- — 
graver, he acquired considerable celebrity, and — 
executed a great number of plates from his own ~ 
designs, the best of which are those taken from 
the ‘ Metamorphoses’ of Ovid. They are slightly 
etched, and finished with the graver. They are — 
very spirited, and resemble the manner of Callot. — 
He marked his plates sometimes with his Ww = 
name, and sometimes with the cipher an- : 
nexed. The following are his principal works: 

Portrait of Don Paolo Giordano II., Orsino, Duca di 

Bracciano ; oval; dated 1636; scarce. 7 

A set of Habiliments of different Nations, with his 

Portrait ; eighteen prints. 

A set of Battles; entitled Caprici di varie battaghe ; 

fifteen prints. 

Another set of Battles ; fourteen prints, with the title. 

A set of Landscapes, among which are the Four Ele- 

ments; twelve prints. ‘a 
oan of Battles, for Strada’s History of the Belgic 
ar. e 

The Metamorphoses of Ovid; one hundred and fifty _ 

prints, published at Vienna, in 1641. : 

BAUR, Nicoxiaas, who was born at Harlingen 
in 1767, was the son of HenpRIcus ANTONIUS BAUR. 
a portrait painter (born 1736, died 1817). He — 
painted landscapes and views of cities, and many 
houses in Holland are embellished by his works. 
He also painted moonlight and winter scenes; and 
was particularly successful in marine subjects. He — 
is considered one of the best of the later Dutch 
marine painters. He died at Harlingen in 1820. 

BAUSA, GrReEGoRINO, a Spanish painter, born at _ 
Mallorca, a town in the vicinity of Valencia, in — 
1596. He was a scholar of Francisco Ribalta, and 
was a reputable painter of history. The principal 
altar-piece in the ehurch of St. Philip of the ~ 
Carmelites at Valencia, representing the Martyr- 
dom of that Saint, is by Bausa. There are also — 
several pictures by him in the monastery of Los ~ 
Trinitarios Calzados in that city. He died in 1656. 


we 
____BAUSE, JoHann Frixpricu, a German engraver, 
was born at Halle, in Saxony, in 1738. He is 
_ stated to have learned the art of engraving without 
y the instruction of a master, and to have formed his 
_ manner by an imitation of the admirable prints of 
_ J. G. Wille. He died at Weimar in 1814. His 
¥ works, which are very numerous, are chiefly exe- 
cuted with the graver, which he handled with 
_ great purity and firmness. The following are his 
_ principal plates, except his portraits, which are 
chiefly of German characters of little celebrity : 
| 5 and Musidora, subject from Thomson; after 
ach. 


A Moonlight Scene ; after the same. 
The Magdalene ; from a drawing by Bach, after Batoni. 
Three Apostles ; after Caravaggio; etching. 
Venus and Cupid; after Carlo Cignani. 
Michael Ehrlich ; after B. Denner ; a mezzotint. 
_ The Repentance of St. Peter; after Dietrich. 
_ The Good Housewife ; after G. Dou. 
Bust of a Girl; after Greuze. 

Artemisia ; after Guido. 
The Head of Christ ; after the same. 
The Old Confidante ; after Kupetsky. 
Cupid feeling the Point of an Arrow; after Mengs. 
Bust of a Girl, with a Basket of Roses; after Wicker. 
The Sacrifice of Abraham ; after Oeser. 
La petite Rusée ; after Reynolds. 
| A list of his works may be found in Nagler and 
_ Heineken. See also Dr. G. Keil’s ‘Katalog des 
_ Kupferstichwerkes von Johann Friedrich Bause,’ 
Leipzig, 1849. His daughter, Jun1anzE WILHEL- 
- MINE Bausz, etched, with talent, a number of 

landscapes after Kobell, Both. and other artists. 

‘She was born in 1768, and died in 1837. 

- BAVARESE. See OEFELE. 

BAVIERA, a native of Parma, and one of the 
pupils of Raphael. Of his work nothing is known, 
and details of his relations with Sanzio are of the 

| scantiest, but that he was a trusted friend and con- 
_ fidant of the master appears from the fact that to 
_ him Raphael gave the copper-plates of the en- 
_ gravings executed for him by Marc Antonio, that 
his name figures as signatory to a contract con- 
eluded on behalf of Raphael in 1515, and that 
' before his death Raphael] confided to his care his 
_ mistress, the famous ‘Fornarina.’ He is further 
‘mentioned by Vasari as having come to the aid of 
' his fellow-pupil, Perino del Vaga, when the latter 
“ae rendered destitute by the sack of Rome in 

BAXAITI. See Basalt. 

BAXTER, CuHar.es, an English portrait and 
subject painter, was born in London in 1809. He 
commenced life as a bookbinder, but afterwards 
studied under Clint. He exhibited at the Royal 
Academy, where his first picture appeared in 1834, 
and at the Society of British Artists, of which he 
became a member in 1842. His first works were 
miniatures and portraits in oil, but his greatest 
success was in fancy portraits. He died at Lew- 
isham in 1879. Amongst his works are: 

The Dream of Love. 

Olivia and Sophia (London Exhibition, 1862). 

Peasant Girl of Ohioggia. 1869. 

Rich and rare were the gems she wore. 1872. 

_ BAXTER, Grorax, a wood-engraver, who was 
born at Lewes in 1804, went in 1827 to London, 
where he became celebrated for a method of print- 
ing in oil-colours, which he placed on the market 
in 1834. His best works were a copy of ‘The 
Descent from the Cross,’ by Rubens; ‘The Open- 
ing of the First Parliament of Queen Victoria,’ for 
which he was awarded the Austrian gold medal ; 


H 


1 
i 


PAINTERS AND ENGRAVERS. 


the ‘Queen’s Coronation, and a miniature of ‘ The 
Baptism of the Prince of Wales.’ He once ex- 
hibited in the Royal Academy. He died at 
Sydenham in 1867. 

_ BAXTER, Tuomas, a native of Worcester, born 
in 1782, excelled in fruit and flower pieces, which 
ne painted in water-colours. He also assisted John 
Britton in his work on Salisbury Cathedral. He 
died in London in 1821. 

BAY. See Desay. 

BAYER, Avcust von, who was born at Ror- 
schach in 1804, first studied architecture under 
Weinbrenner, at Carlsruhe. He visited Munich 
and Paris, and subsequently devoted himself to 
painting interiors of churches, chapels, cloisters, 
halls, &c., in which he produced very happy 
effects. In 1853 he was appointed conservator of 
the monuments and antiquities in the Grand Duchy 
of Baden, and died at Carlsruhe in 1873 (or 1875). 
Among his best works are: 


The interior of the Fravenkirche at Munich. 

A portion of the Cathedral at Chur. 

The Convent of Maulbronn. 

The Organ Player (lithographed by Fr. Hohe). 

An interior of a Cloister (ithographed by Fr. Hohe). 


There are four works by him in the Pinakothek 
at Munich. 

BAYER, Hirronymus von, born at Bauris, Salz- 
burg, in 1792, was an excellent etcher, a master 
of the University at Landshut in 1809, and subse- 
quently a professor, and a member of Council at 
the University of Munich. He etched a large 
number of landscapes of great finish. 

BAYER, Joszr, who was born at Vienna in 1804, 
became a painter of merit, but died there when still 
young, in 1831. In the Belvedere there are two 
works by him—a ‘Portrait of a Boy,’ signed and 
dated 1829, and ‘The Flight into Egypt,’ signed 
and dated 1830. 

BAYEU y SUBIAS, Francisco, was born at 
Saragossa in 1734. He was first instructed by 
Luzan, in Tarragona, and having gained the pre- 
mium at the Academy, he was allowed a pension, 
to enable him to visit Madrid, where he entered 
the school of Gonzales Velazquez. His merit 
attracted the notice of Raphael Mengs, who recom- 
mended him to the protection of Charles III., 
and that monarch employed him in the Pardo, and 
in the palaces at Aranjuez and Madrid, where he 
also painted several pictures for the churches. In 
1765 he was received into the Academy at Madrid, 
and in 1788 was made painter to the king. He 
died at Madrid in 1795. He etched a few plates. 
The following are a few of his best paintings : 


Madrid. Mew Palace. The Conquest of Granada. 
fh a Apotheosis of Hercules. 
ES fe The Fall of the Giants. 
= a3 And others. 


a Museum. Sacred and Genre pictures (28). 


Works by him are to be seen in the Carthusians, 
Madrid,—the ‘ Life of St. Bruno,’—and frescoes in 
the churches of Toledo and Saragossa. 

BAYEU y SUBIAS, Ramon, was born at Sara- 
gossa in 1746, and was instructed in art by his 
brother Francisco. He is principally to be noticed 
as an assistant to his brother in his fresco works. 
He died at Aranjuez in 1793. . 

BAYNES, James, a water-colour painter, was 
born at Kirkby Lonsdale in 1766, and early in life 
became a student of the Royal Academy. In after 
years he exhibited views in North Wales, and in 


97 


A BIOGRAPHICAL DICTIONARY OF 


Norfolk and other English counties, frequently 
introducing cattle. He died in 1837. 

BAYUCO, Juan BavristA, was a painter of some 
repute at Valencia, where he was born in 1664. 
His best works were his pictures in the cloister of 
the convent of St Sebastian, illustrative of the 
‘Life of San Francisco de Paula.’ 

BAZAN, Marrana SILVA. See Sitva Bazan. 

BAZICALUVE, Ercoue, (or BazzIcALUVE,) an 
eminent engraver of Pisa, and pupil of G. Parigi, 
flourished about the year 1640, and became cas- 
tellan of the castle of Leghorn. Bartsch describes 
seven of his prints, and Brulliot others which had 
escaped the notice of that writer. Of his works 
may be mentioned a ‘Triumphal Procession,’ and 
twelve landscapes. 

BAZIN, Caries Louis, a French painter, 
sculptor, engraver, and lithographer, was born in 
Paris in 1802, where he died in 1859, He was a 
pupil of Girodet-Trioson and of Gérard, after the 
latter of whom he engraved a portrait of Albertine 
de Staél, Duchesse de Broglie. 

BAZIN, Nicoxas, a French engraver, was born at 
Troyes, in Champagne, in 1633, where he died in 
1710. He was a pupil of Claude Mellan, and estab- 
lished himself in Paris as an engraver and print- 
seller. He worked principally with the graver, in 
rather a stiff, dry manner, and published several 
plates, executed by himself and others, chiefly 
engraved by the young artists he employed. His 
plates are portraits and historical subjects, of which 
the following are the principal : 


PORTRAITS. 


Madame Helyot, an abbess ; after his own design. 

Madame Guyon, a celebrated visionary. 

Jean du Houssay de Chaillot, a hermit. 

Father Emanuel Magnan. 

Father Anthony Verjus, a Jesuit; after J. P. de Cany. 

Jean Crasset, a Jesuit; after Du Mee. 

St. Francis Xavier. 

St. Ignatius de Loyola, founder of the Jesuits. 

Louis XIV., on horseback. 1682. 

Maria Theresa of Austria, wife of Louis XIV.; after 
Le Febure. 1681. 

Louis, Dauphin of France ; after Martin. 

Francois Barréme, arithmetician. 


1686. 


VARIOUS SUBJECTS. 


St. Francis receiving the Stigmata; after Baroce. 

St. Isabella, foundress of the Abbey of Longchamps; 
after Philippe de Champagne. 

The Virgin Mary suckling the Infant Saviour; after 
Correggio. 

Two Ladies, one going into a Bath; after J. Dieu. 

St. Anne teaching St. Elisabeth to read; after Le Brun. 

St. Mary, of Egypt, and St. Zozima; after the same. 

St. Jerome and St. Peter, two plates; after Lichery. 

The Holy Virgin. 

The Annunciation. 

Christ crowned with Thorns. 

The Crucifixion. 


BAZZANI, GIUSEPPE, was born at Reggio in 
1701 (or 1690), and was a scholar of Giovanni 
Canti. According to Lanzi, he studied the works 
and imitated the style in which Rubens had 
painted in Italy; at Mantua and in the neigh- 
bouring convents he executed many frescoes with 
great spirit and freedom. He was director of the 
Academy at Mantua, in which city he died in 1769. 

BAZZI, GiovaANNI ANTONIO, or de’ BAZZI (fre- 
quently miscalled RAZZI, and generally known as 
‘Sodoma’), was born at Vercelli, in Piedmont in 
1477. His father, Giacomo de’ Bazzi (who, it has 
been suggested, was a humble cadet of the noble 


Piedmontese house of Tizzoni, since his son in 
later days lays claim to that name), was a shoe- 
maker, who, coming from Briandate, had married 
and settled in Vercelli. Giovanni Antonio, his 
eldest son, was, on November 28, 1490, at the age 
of thirteen, apprenticed for seven years to a glass 
painter from Casale of the name of Martino Span- 
zotti, whose only known work may be seen 
(acquired quite recently) in the Public Picture 
Gallery in Turin. With this artist he removed to 
Casale until the end of his articles, and his father 
dying that same year, he appears to have finally — 
left home for Milan, where even if not actually his — 
pupil he came under the direct influence of Leo- — 
nardo da Vinci, and received from that master — 
artistic impressions of such strength that, during — 
the whole of his subsequent career, they are never — 
entirely absent from his works. About the year — 
1500-01 he came, at the invitation of certainSienese — 
merchants named Spannocchi, who had agents in — 
Milan, to their city; which, in spite of frequent — 


| absences, became henceforth his home and the — 


scene of his greatest achievements. Vasari com- — 
plains that he wasted too much of his time on his 
first arrival in making drawings from the sculptures, 
then recently executed, by the famous Giacomo — 
della Quercia, especially those on the celebrated — 
Fonte Gaia in the Piazzo delCampo; and that this 
influence was very visible in his early paintings. — 
However, nearly all the works recorded as having 
been executed during this period seem to have dis- 
appeared or perished. The most important one — 
generally supposed to have originated at this time 
is the great ‘Deposition from the Cross,’ painted 
for the church of St. Francesco, and now in the © 
Siena Academy. Other smaller paintings, which ~ 
probably belong to the same period, exist, but upon 
this point authorities differ. In 1503 he adorned 
the refectory of the small Olivetan Convent of — 
St. Anna in Creta, near Pienza, with charming 
frescoes, the largest of which is the ‘Miracle of 
the Loaves and Fishes,’ in three sections, Here — 
his Lombard instincts may be seen struggling with 
local Tuscan influences. In 1505 he was further 
employed by the Mother-Convent of Monte Oliveto 
Maggiore, near Chiusure, to take up the work com- 
menced by Signorelli, and to continue the series of 
‘Scenes from the Life of St. Benedict’ frescoedinthe 
cloister there. There he not only painted twenty- 
five subjects from the Life of this Saint, but also — 
other works in the same medium in various parts of _ 
the Convent. In these frescoes he showed, in spite __ 
of great inequality in execution, at the same time 
his unsurpassable feeling for beauty of a most — 
exquisite, even sensuous type; his vigorous power — 
of portraiture, and his ungovernable passion for 
rollicking humour and jokes of every description. —_ 
This last trait won him the nickname of ‘IJ Mat- 
taccio’ (the Arch Fool) from the Olivetan brethren. 
About 1507 he was attracted to Rome among the ~ 
bevy of artists employed by Julius II. to adorn the — 
Vatican Palace. ‘There he designed and executed _ 
the ceiling of the Camera della Segnatura, portions _ 
of which, however, were by the Pope’s orders — 
removed to make way for other work by Raphael, — 
but of which the centre panel, the decorative 
grotesques, and some of the smaller scenes still —_ 
remain. Authorities differ as to Bazzi’s Roman 
visits, but it is generally considered that, after — 
leaving for Siena about 1510, he returned again be- — 
tween 1513 and 1515 to execute for Agostino Chigi, — 
the wealthy Sienese banker, the beautiful frescoes q 


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ym the ‘ Life of Alexander,’ which adorn the state 
bedroom in the Villa Farnesina. Of these the finest 
| still existing are ‘The Marriage of the Hero to 
Roxana,’ and ‘ The Family of Darius kneeling at his 
feet.’ The former, in spite of numerous faults, is 
ne of the chefs-d’auvre of the Italian Renaissance, 
nd is almost unrivalled. It is generally supposed 
at in 1517 he painted in the cloister of St. Fran- 


a 
oF 


 cesco, in Siena, that stupendous, but alas! cruelly 
| injured ‘Christ bound to the Column,’ of which 


but a fragment remains in the Siena Picture Gallery. 

In the following year he executed, in rivalry with 
| Domenico Beccafumi and Girolamo del Pacchia, 

_ three scenes from the ‘Life of the Virgin’ (the 
_ £Presentation,’ the ‘ Visitation,’ and the ‘ Assump- 
| tion’), and three figures of Saints (‘Francis of 
Assisi,’ ‘Anthony of Padua,’ and ‘Louis of Tou- 
_ louse’) in the Oratory of St. Bernardino in Siena ; 
EE? completing the series fourteen years later (1532) 
bee the ‘Coronation.’ Here again, amid much 

_ careless work, there are some exquisitely beautiful 
_ heads and figures. In that same year he painted, 
_ for two brothers of the name of Arduini, the mag- 
_ nificent panel of the ‘Adoration of the Magi,’ 


_ now in the Piccolomini Chapel in St. Agostino, at 


i 


_' Siena, and also a panel of the ‘Roman Lucretia 
conferred upon the artist in reward the title of 
_ Cavalier of Christ. Between the years 1518 and 
_ 1525 he seems to have been absent from Siena, 
__ perhaps in Lombardy, to which fact certain docu- 
ments and pictures seem to point. In 1525 he, 
assisted by various pupils, adorned the now 
_ desecrated church of the Compagnia di Santa 
_ Croce. Two fragments of these works, now in 
_ the Siena Gallery, ‘The Descent into Limbo’ and 
_ the ‘Agony in the Garden,’ are of extraordinary 
beauty. The figure of Eve in the former and of 
the sleeping Apostle in the latter being worthy of 
special note. In this same year also the lay com- 
_ pany of St. Sebastiano, in Camollia, commissioned 
' him to execute that wonderful banner which now 
_ hangs in the Uffizi Gallery in Florence: a figure of 
_ their patron saint unsurpassed, or even equalled, 
_ by any other artist. On the back is a Madonna and 
| Child in glory with saints and worshippers, inferior 
in merit, but full of charm. This work, we learn, 
was left uncompleted by Bazzi, and was finished 
by his rival Beccafumi. In 1526 were executed 
__ the famous frescoes from the ‘ Life of St. Catherine 
_ of Siena,’ in the chapel in St. Domenico, where is 
preserved her head, one of which, her ‘ Fainting 
when receiving the Stigmata’ (Lo Svenimento), 
__ is perhaps the most celebrated and best known of 
the painter’s works. Between the years 1529 and 
1537 he painted a number of works in fresco in the 
__ Palazzo Pubblico, viz. single figures of SS. Ansano 
and Vittorio, and the Blessed Bernardo Tolomei, 
_ the Resurrection, and the Madonna and Child, with 
_ $8. Ansano and Galgano. In the chapel of the 
_ same place there is also a panel, painted at about 
_ the same period, representing ‘The Holy Family 
with St. Leonard,’ originally executed for the altar 
of St. Calixius,inthe Duomo. In 1530 the Spanish 
_ tesidents in Siena engaged him to decorate their 
chapel in St. Spirito. Here are frescoes of SS. 
Sebastian, Anthony the Abbot, and James on 
horseback trampling on the Turks, and panels of 
SS. Michael and Nicolo di Tolentino; while in a 
lunette, on another panel, the Virgin, attended by 
various female saints, is clothing St. Ildefonso in 
an episcopal habit. This picture is said to have 

| H 2 


| PAINTERS AND ENGRAVERS. 


been much admired by tho Emperor Charles V., 
who, at about this date, conferred on the painter 
the rank of Count Palatine. During the next year 
he accomplished the enormous, but now almost 
entirely destroyed, fresco of the ‘Nativity’ over 
the Porta Pispini of the city. In 1536 he was 
visiting and working for, though none of his 
work there is now to be found, his benevolent 
friend and patron, James V., Prince of Piombino; 
and in 1540 he was visiting also Lorenzo di Ga- 
leotto dei Medici at Volterra, where again all 
artistic trace of him is lost, except the figure of 
the Infant Christ, inserted by him into the large 
painting of the ‘ Circumcision,’ by Signorelli (now 
in the National Gallery, London). Thence, in 
1541, he went to Pisa, where he painted two 
pictures (the ‘Sacrifice of Isaac’ and the ‘ Entomb- 
ment’) for the Duomo, and a‘ Madonna and Saints,’ 
now in the Pisa Public Gallery, for St. Maria della 
Spina. The first of these three pictures was 
carried to Paris by Napoleon in 1811, and remained 
there three years. He then visited Lucca, and 
finally returned to Siena, where he died on Feb. 14, 
1549 ; though probably not, as Vasari tries to make 
out, in poverty and distress. 

Although Bazzi introduced an entirely new life 
into Sienese art, falling, as it was fast doing, 
into narrow antiquated grooves, and although his 
influence is very strongly marked throughout 
all subsequent art in that city, it would be 
incorrect to say that he in any sense founded a 
school. His actual pupils were very few—he was 
far too erratic to keep any for long together— 
though his followers and imitators were many. 
His chief merits are ease of drawing, a certain 
poetic feeling that runs through all his work, and 
the irresistible charm of his beautiful heads, espe- 
cially those of women, youths, and children. His 
schemes of colour are frequently very pleasing, 
particularly in his frescoes, which are his strongest 
point ; but in panels and canvases it has too often 
become blackened and discoloured by the action of 
time and weather on ill-chosen and prepared pig- 
ments. That he was very much influenced by 
Leonardo, and, to some extent perhaps, also by 
Raphael, is evident from the fact that his works— 
drawings especially—have been often attributed to 
these more celebrated masters. Vasari evidently 
cordially disliked him, for, though compelled in 
justice to praise him sometimes, he loses no oppor- 
tunity of raking up and inventing malicious reports 
about him, some of which are palpably untrue. 
Besides the works already mentioned, the following 
are worthy of note : 


Siena. Picture Gallery. Holy Family with an Angel 
(tondo). 
* ua Four Bier heads for the Com- 
pagnia di Fonte-Giusta. 
2 eae of oh 
aria sotto : 
le “Vote. del (ae AemNy. 
Ospedale. 
4 Chapel of SS. 
Giovanino & Four Bier-heads. 
Gennaro. 
” Chapel of the} Madonna with Saints (fresco). 
Prazza. 
» Casa | Bamba-) pieta. ‘Madonna del Corvo ’ 
giat Gallette (fresco). 
(outside). er ees 
Florence. Uffizt. Portrait of himself. 
om iS Ecce Homo, 
4s Pittt. Portrait. 
Ecce Homo. 


” 9 


99 


x 
x 


A BIOGRAPHICAL DICTIONARY OF ss ey Si 


“Macbeth,”’ is his most celebrated production. “s 


Florence. Convent of ) 
Monte Oli- 
veto (outside Sg of Last Supper 
Porta St. esco). 
Frediano). 


Naples. Picture Gallery. The Resurrection. 


Rome. Villa Borghese. Holy Family. 
a = Pieta. 
Pe Palazzo Spada, St. Christopher, (on the back) 
St. Luke. 
mS Palazzo Chigi. _ Rape of the Sabines (?). 
<4 ee (Bo-) Caritas (tondo). 
Turin, Picture Gallery. Holy Family. 


Madonna with Saints. 
Lucretia stabbing herself. 


9 2? 


Asinalunga. Colleyiata, Madonna enthroned with 
Saints, 
Trequanda. a Ascension (fresco). 
Montepulciano. Picture Holy Famil 
Gallery, § 7 OY SAM: 
Milan. is io OE Madonna and Child. 
astello (Museo . 
D) Civico). St. Michael. 
; Collection : 
; eh via eo } Madonna and Child. 
: Collection, 
‘ Frizzont, } Magdalen. 
Collection : 
- Vittadini. } Holy Family. 


Vaprio d’Adda VillaMelzi. Madonna and Child (large 


(near Milan). JSresco). 

Bergamo, Collection Mo- 
rellt (Pat Latadouna 
Gall.). 

sek ri Fes Portrait of a man. 

Vercelli. Coll, Avv. Madonna and Child and an 
Borgogna. angel. 

Munich. Pinakothek. Holy Family. 


Holy Family. 

Portrait of a lady. 

Lucretia. 

Holy Family. 

Caritas. 

Lucretia. 

Madonna and Child with 
Saints (smat/). 

Head of Christ. 


Vienna, Imperial Gallery. 
Frankfort. Siddel Gallery. 
Hanover. Kestner Museum. 
» Coll. Cumberland. 
Berlin. Museum. 
Hamburg. Weber Coll. 
London. Nat. Gallery. 


i. Coll, br. IGS Mond. St. Jerome. 
” ” ” Ecce Homo. 
+ a *, ‘ Madonna and Child. 
a fee alter F 
4 oP eS, i Holy Family. 
Ks a ae ; Madonna and Child. 
39 9 99 Dead Christ. 
», Dorchester \ Holy Family with Angels 
House. (tondo). 
” »» Surrey House. Madonna and Child. 
he Peel aces i St. George and the Dragon. 


High Leigh, Col. Cornwall, 
Cheshire. Leigh. 

Gosford House, Coll. Earl 
Longniddry. of Wemyss. 


Holy Family (tondo). 
} Holy Family (tondo). 


Corsham Coll. Lord E H 

Court. Methuen. } eee ae: 
Paris. Coll. py pee ne Christ bearing His Cross, 
Brussels. Coll. Baron 


} Leda and the Swan. 
Pieta. 


de Somzeé. 


” ” 


R. H. H.C. 


BEACH, Tuomas, was born at Milton Abbas, in 
Dorsetshire, in 1738. He was a pupil of Reynolds, 
and became distinguished as a portrait painter. 
He lived for many years at Bath, and sent his 
pictures to the exhibitions of the Incorporated 
Society of Artists, and afterwards to the Royal 
Academy. Three of his works were included in 
the Exhibition of National Portraits, 1867. His 
Dig of ‘John Kemble and Mrs. Siddons, in 

0 


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He died at Dorchester in 1806. 


BEALE, Mary, an eminent portrait painter, was 
She was the daughter — 
of the Rev. J. Cradock of Walton-on-Thames, and — 
having shown a great inclination for art, she was 
placed under Sir Peter Lely, and soon became ~ 
By copying several paintings by Van 
Dyck, she acquired a purity and sweetness of 
colouring for which her portraits are distin- — 
guished. Of an estimable character, and very — 


born in Suffolk in 1632. 


proficient. 


amiable manners, she was patronized and em- 


ployed by many of the most distinguished persons _ 
of her time. Her husband was also a painter, but 


of no celebrity. Mrs. Beale died in London in 


1697. In the National Portrait Gallery, London, — 
there are by her two portraits—one of Charles Il., — 
and the other of Abraham Cowley. (See Walpole’s — 


* Anecdotes.’ ) 


BEARD, Tuomas. This engraver was a native 
of Ireland, and flourished about the year 1728. He — 
worked in mezzotint, and engraved principally — 


portraits ; among which are the following : 


The Archbishop of Armagh; after P. Ashton. 
The Countess of Clarendon ; after Kneller. 
John Sterne, Bishop of Clogher; after Carlton. 


BEARD, Witt1am H., was an American, born © 4 
at Painsville, Ohio, in 1821, his grandfather having _ 
been a Judge of the Supreme Court, but his father 


a ship’s captain. From his earliest youth he 


delighted in drawing, especially of odd, grotesque 4 


or dreadful figures, and it was this ability which 


caused him in later years to become the clever — 


humourist of America, He began as a portrait 
painter, but the comic element was too strong in 


him for success in that branch of art, and he 


speedily turned to works of imagination. His 
delineations of animal life and his rebukes of the 


frailties of human nature under the transparent 


guise of animal scenes rendered him very popular 
in his own country, where he rose to the highest 


honours and became one of the earliest associates — 


of the National Academy of Design. His work is 
but little known in England, but is full of subtle 


analysis of character, profound satire and clever — 
colouring. Imagination, humour and satire are the 
qualities by which his work is distinguished. His — 


drawing was too often weak and at times in- 
accurate, but his works were always impressive 
and often dramatic. He died in 1900. 
BEARDSLEY, Auvsrey, was one of the most 
original draughtsmen who have ever lived. He 


attained his utmost celebrity before he was twenty- — bs 


two years old, and he was but twenty-five when 
he died. He was really never more than a wonder- 
ful precocious boy all his life, with all the frank 
merriment, enthusiasm and exuberance of a boy. 
His earliest published work was a programme 
and book of words for the annual entertainment 
of the Brighton Grammar School in December 1888. 
There were eleven drawings in the book, ‘the work 


of a boy at the school, as the programme stated, © 
and they were all strikingly individual and instinct — 


with life and movement. His next published 


work was in the ‘Bee’ magazine, Blackburn, — 


December 1891, and at that time he wasa clerk 
in the Guardian Fire Office. 
the very worst of health, suffering from frequent 
attacks of hemorrhage, but during his evenings 
found time to prepare a large portfolio of draw- 
ings. 


He was always in 


These attracted the attention of Mr. Aymer ~ 
Vallance, and later on of Mr. Pennell, and it was 


ae at 


1 te DAN: eet ety 


oor 
2 eee 


as 


é 


_ of‘ Bons Mots,’ and to ‘Salome,’ ‘The Rape of the 


c 


FE I 


two friends that he eventually relinquished his 
occupation, entered at Mr. Fred Brown’s Studio 


_ at Westminster, and finally decided to give his 


attention to illustration. At the age of nineteen 
he accepted the tremendous task of illustrating 
the ‘Morte d’Arthur, and after considerable labour 


 earried it through. When still quite a lad he had 
attracted the attention of Sir E. Burne-Jones and 
- also of Puvis de Chavannes, and it said much for 


his genius that it should have received encourage- 


ment from two men so different in their aims and 


practice as were these two. His special qualities 


_ were thus described by Hamerton in his eulogy 
of the artist: ‘‘ Extreme economy of means, the 


perfection of discipline, of self-control and of 
thoughtful deliberation, at the very moment of 
invention.” In 1893 appeared the famous article 
on Beardsley in the pages of the ‘Studio,’ and 
from that moment the lad was famous. His success 


__was the most unfortunate thing which happened 


to him, as he became involved with the “latest 
charlatanisms of the hour,” and was claimed by 
the artists of the decadent movement as one of 
themselves. His illustrations to the three vols. 


Lock,’ and ‘The Savoy,’ are works of remarkable 


_ genius, but those in the ‘Yellow Book’ and many 
of his single illustrations did not add to his fame, 
__ and in some cases were distinguished by a vicious 
and ignoble quality, together with a peculiar 

disposition to represent types without intellect and 


without morals, which later on he regretted with 


' all bis heart. His latest works were the ‘ Book of 


Fifty Drawings,’ the illustrations to ‘ Mademoiselle 


de Maupin,’ and to ‘ Volpone,’ all executed when 


he was seriously ill with that illness from which 
he never recovered. He was, however, neither 
depraved nor immoral, but was unable to withstand 


| the desire to do clever, mischievous things, and 


to shock persons of narrow opinions. His work 
in the ‘Savoy’ and the ‘Yellow Book’ were mis- 
understood, and were thought to be the work of 
aman of evil disposition, but it was not so. He 
would have been better had he restrained his 
‘mischievous disposition, and had he lived he would 
have restrained or left it behind him, but in any 
case the existence of this curious quality, much as 
the artist afterwards regretted it, must not be put 
down to actual vice. Beardsley was always a 
man of religious temperament, of deep and serious 
aims and of earnest feelings. In the last few 
years of his life he became a Catholic, and in that 
faith he died at Mentone in March, 1898. His 
drawings were full of imagination and of delicate 
fancy. There were often the faults of eccentric 
a ge and tricks and mannerisms of style, 
ut with all there was a marvellous knowledge 
of the quality of line, an exquisite portrayal of 
texture, a vigour, inventiveness and daintiness 
which are almost unapproachable in the work of 
any other man. His sense of beauty was a very 
real and powerful one, and there is an earnestness 
about his work and a desire not alone to be quaint 
and fanciful, but also to realize the hidden depths 
of beauty which deserves fuller recognition than 
it has received. ‘The horror and evil of many of 
the faces, the cunning and malice depicted in 
some of them, have been too much considered, to 
the detriment of the greater qualities which 
Beardsley undoubtedly possessed. His technique 
was masterly ; there was, as has been well said, “a 


PAINTERS AND ENGRAVERS. 


; , owing to the very urgent persuasions of these 


serene surety in his drawing and a superb sense 
of style.” No artist so rapidly reached so universal 
or contested a fame, few have had so wide an 
influence, few have been so much misunderstood, 
and few have been so profoundly original. There 
is an excellent sketch of his life, written by his 
friend Arthur Symons, and articles on his work 
by Aymer Vallance and Margaret Armour are to 
be found in the ‘ Magazine of Art,’ and by Pennell 
and others in the ‘Studio’ and ‘Artist.’ From these 
and from personal knowledge the above notice 
has been written. G.C. W. 
BEATRICIUS. See above, MASTER oF THE DIE. 
BEATRIZET, Nicoxas, (BEAUTRIZET, or BrEA- 
TRICETTO,) a French engraver, was born at Lune- 
ville in or before 1520. From his style it has been 
conjectured that he was a scholar of Ghisi, and of 
Agostino Veneziano de Musis. From 1540 to 1560 
he engraved under the direction of Michelangelo. 
He died at Rome after 1560. His works are more 
indebted, for the estimation in which they are held, 
to the subjects he has selected, than to the merit 
of their execution. He usually marked his plates 
with the letters V. B. LZ. F. Their number is con- 


siderable, but most of them are NB NB ib 


comprised in the following list: 


PORTRAITS. 

Bust of Pius ITI. 

Pope Paul III., an oval. 

Pope Paul IV.; dated 1558. 

Henry II., King of France; WV. B. F. Lot f. 1558. 

Another Portrait of Henry II.; dated 1556. 

Hippolita Gonzaga. 

Juan Valverdus, Spaniard. 

Antoine Salamanca, engraver and dealer in prints. 

Don Juan of Austria, an oval, on a monument ; inscribed 
Generale della Legha. 

The Genealogy of the first twelve Emperors and Em- 
presses, with their Portraits, from medals ; two sheets. 

aye Pees of Poland, in medallions; inscribed Reges 

olonia@. 


SUBJECTS OF SACRED HISTORY. 


Cain killing Abel; inscribed Fratricida Abelis, A. S:- 
ex. 1540. 

Joseph explaining the Dream; after Raphael ; marked 
NV. B. F., and his name ; one of his best plates. 

The Nativity of the Virgin; after Baccio Bandinelli ; 
inscribed Nicolaus Beatricius restituit et formis suis 
exe. 

The Annunciation ; with the names of Michelangelo and 
Beatrict. 

The Adoration of the Magi; after Parmigiano, N. B.L. F. 

The Holy Family, with St. John; Jerom. Mutian, pinz., 
Nicolaus Beatricius Lotaringus, incidit, &¢. 

The Good Samaritan ; Michelangelo, inv. 

Christ on the Mount of Olives; after Titian ; marked 
NOB. 

The Crucifixion, with the Virgin, Magdalene, and St. 
John; with the Sun and Moon on each side; Muci- 
anus Brixianus, inv., Nicolaus Beatricius, &c. exe. 

The Mater Dolorosa ; after Michelangelo; N. B. Rome. 
1547. 

The taking down from the Cross; after Circignani ; 
marked B. Rome. 1 

Christ delivering the Souls from Purgatory; with the 
names of Raphael and Beatrici. . 

The Ascension; after Raphael, with his cipher. 1641. 

The Conversion of St. Paul; Michelangelo, pinw., &e. ; 
marked NV. B. ts 

St. Michael overcoming the Evil Spirit; after Raphael ; 
marked NV. B. L. ake . 

The Virgin seated on a Throne, distributing Rosaries ; 
inscribed Nicolaus Beatricius, &c. exc., oval. 

The Cross worshipped all over the world ; arched plate, 
marked WV. B. F., and inscribed Crux tlustris, §¢. 


MDLVIL. 
The prophet Jeremiah ; after Michelangelo. 101 


"A BIOGRAPHICAL DICTIONARY OF | 


St. Jerome kneeling before a Orucifix; after Titian ; 
marked WV. B. L. F. ; ae 
St. Elizabeth, Queen of Hungary, relieving the dis- 

tressed; after Mutiano. 
The Last Judgment; after Michelangelo. Dated 1562. 
In nine sheets. 


SUBJECTS OF PROFANE HISTORY. 


The Sacrifice of Iphigenia; on the altar is inscribed 
Iphigenia ; it is marked NV. B. L. F. 

Ganymede; after Michelangelo; inscribed Ganimedes 
Jjuvents, & 

The Fall of 
Beatrict. 

Tityus devoured by a Vulture; after the same; Ant. 
Salamancha, ex. 

Silenus carried by Children; after the same; N. Bea- 
trice, fec. 

The Dream of Human Life, emblematical subject ; after 
the same. 

Shooting at a Target ; after the same. 

Vertumnus and Pomona; after Pontormo. 

Reason combating Love; after B. Bandinelli ; with his 
cipher. 

A Combat between five Men and five Wild Beasts ; after 
Giulio Romano. 1582. 

The Battle of the Amazons; after a basso-rilievo; in- 
scribed Amazonum pugna, $e. 1559. 

The Battle of the Dacii; after the basso-rilievo of the 
Arch of Constantine; marked NV. B. and inscribed 
Tabula Marmora, &c. 

The Emperor Trajan triumphant; after a basso-rilievo. 
1560. 

The Pantheon of M. Agrippa; marked WN. B. F. 

The Temple of Fortune; after a drawing by Raphael ; 
marked NV. B. Ff. 

The great Circus; marked WV. Beatrizet Lotaringie; 
two sheets. 

The Front of the Farnese Palace; after the design of 
Michelangelo. 1548. 

Statue of Moses; after Michelangelo ; inscribed Moysis 
ingens, §c. 

Statue of Jesus Christ; after Michelangelo ; with his 
name. 

Equestrian Statue of M. Aurelius. 1558. 

Statue of a Philosopher reading; inscribed Anazximenes, 
§c.: the plate was afterwards retouched, and the 
Philosopher changed into St. Paul. 

The Castle of St. Angelo. 

The Siege and Taking of Luneville; Nic. Beatrizet Lo- 
taringas, incidet. 1558. 


@. 
Phaéton ; after Michelangelo ; retouched by 


BEAU, Pierre ADRIEN LE. See LE BEAv. 
BEAUBRUN, Henri, a French portrait painter 
to the king, and a member of the Royal Academy 
of Painting in 1648, was born at Amboise about 
1603; he died in 1677. CHARLES BEAUBRUN, his 
cousin and fellow-worker, also a portrait painter, 
was born at Amboise in 1604, received into the 
Academy in 1651, and died in Paris in 1692. Works 
by them are in the Madrid Gallery. Marxirv 
BEAUBRUN, the father of Charles and brother of 
Louis, was likewise a painter. He died in Paris in 
1642. Louis BEAUBRUN, a portrait painter of the 
16th century, an imitator of the Pourbus, was uncle 
of Charles and Henri, and died in Paris in 1627. 
In 1616, on the occasion of the entry of Louis 
XIII. and Anne of Austria into Paris after their 
marriage, Louis Beaubrun executed a large alle- 
gorical painting for the decoration of the Porte St. 
Jacques, which he himself engraved. 
BEAUCLERK, Lady Diana, a daughter of 
Charles Spencer, second Duke of Marlborough, 
was born in 1734, and became an amateur artist 
of some celebrity. She married, in 1757, Frederick, 
second Viscount Bolingbroke, from whom she was 
divorced in 1768. Two days after she married the 
celebrated wit, Topham Beauclerk, by whom she 
was left a widow in 1780. Her illustrations of 
102 


AA Bw. 49 es Ce eed ae eee ee Ce = a Th ee 
Ret Na re ae ~ hel Le ae he eee 
ae « . : ’ no Se = h 


we 


Burger's ‘Leonora’ (1796), and Dryden’s ‘ Fables 


(1797), are well known to book collectors. She — 
also designed groups of young Bacchanals, and _ 
other bas-reliefs for Wedgwood. She died in 


1808. 


He died in 1884. 


croix. 


of Gros, and a frequent contributor to the Salon 
between 1819 and 1878. In the time of Louis 


Philippe he was commissioned to paint several 


large battle-pieces for Versailles. His ‘ Henri III. 


on his Death-bed’ is in the Luxembourg. He died 


in September, 1885. 


BEAUMEZ, JEAN DE, is recorded to have been a 
‘painter and valet” to Philip the Hardy, forwhom 


he painted numerous works, and decorated, among 
other chapels, that of the Castle of Argilli, in Bur- 
gundy. Jean de Beaumez was employed by his 
patron from about 1375 to 1395. 

BEAUMONT, Cavaliere CLAUDIO, was born at 


Turin in 1694. After studying some time in his — ‘ 


native city, he went to Rome, and applied himself 


to copying the works of Raphael, the Carracci, and a 
Guido. He appears to have had little respectforthe 


Roman painters of his time, except Trevisani, whose 
manner he imitated in the vigour of his tints. On 
his return to Turin, he was employed in decorating 
the royal palace, where he also painted in fresco, in 


the library, various symbolical subjects, relative to — q 


the Royal Family of Sardinia; and in the other 
apartments he represented the ‘Rape of Helen,’ 
and the ‘Judgment of Paris.’ In the Chiesa della 
Croce is a fine picture of the ‘ Descent from the 
Cross. The King of Sardinia conferred on him 
the order of knighthood in 1766. 

BEAUMONT, Cuartes EpovarD DE, painter, 
was a native of Lannion (Cotes de Nord), and a 
pupil of Boisselier, He painted genre pictures, 
generally of a humorous character, both in oils and 
water-colour, and gained medals in 1870 and 1875. 


He was president of the Société des Aquarellistes 


Frangais at the time of his death, which took place 
in January, 1888. 

BEAUMONT, Sir Grorce How.anp, Baronet, 
an amateur painter, was born at Dunmow, in Essex, 
in 1753. He was a liberal patron of artists, and 
very fond of their society. He was a great 
admirer of Claude and of Wilson; and painted 
in a respectable manner scenes at Coleorton and 
the groves at Charnwood. In 1826 he presented 
sixteen pictures to the National Gallery, which 
collection he greatly helped to establish. The 
Gallery also possesses two landscapes by him, 
presented after his death by his widow. He died 
at Coleorton, Leicestershire, in 1827. 

BEAUMONT, Jean Francois ALBANIS pz. 
See ALBANIS DE BEAUMONT. 


BEAUMONT, Jonn Tuomas BARBER, who was 
born in London in 1774, was in early life a — 


miniature painter; and from 1794 to 1806 exhi- 
bited his works under his original name, Barber, 
at the Royal Academy. He subsequently adopted 
the name Beaumont in addition to Barber. He 


is best known as the originator and manager of 


the County Fire Office and of the Provident Life 
Office. He died in London in 1841. 


graver, was born in Paris about the year 1720, He 


BEAULIEU, ANATOLE HENRI DE, a French _ ; 
painter of historical, genre, and military subjects, _ 
was born in Paris in 1819, and wasapupil of Dela~ 


BEAUME, Joszru, a French historical painter, a q 
born at Marseilles in 1796, was a favourite pupil 


$ 


BEAUMONT, Pierre FRangots, a French en- _ 


ul 


=> > * 
wr 


i ees 


_ engraver, was born at Abbeville in 1731. 


the age of thirty-one. 


engraver. 


died in Paris in 1797. 


executed some plates, chiefly after Jan Brueghel 
and Ph. Wouwerman. 


Three Views in Flanders; after Brueghel. 

Four Hunting Pieces; after N. N. Coypel. 

The Angel appearing to the Shepherds ; after Wouwer- 
man. 

The Thirsty Traveller ; after the same, 

Running at the Ring; after the same 

The Swimmers ; after the same. 

Cavalry defiling ; after the same. 

Halt of Cavalry; after the same. 

The Blacksmith ; after the same. 


BEAUNEVEU, Awpr#, a painter of miniatures, 
was employed in the early part of the 15th cen- 
tury in illustrating for the Duke Jean de Berry 
a Psalter, now in the National Library at Paris; 
which for its beauty of conception and careful exe- 
eution will bear favourable comparison with the 


works of Meister Wilhelm. The miniatures in a 


Prayer Book of this'duke, now in the Royal Library 
at Brussels, are also attributed to Beauneveu. 

BEAUTRIZET. See Beatrizer. 

BEAUVAIS, DAUPHIN pr. See DavrHin DE 
BEAUVAIS. 

BEAUVARLET, Jacques Firmin, a celebrated 
He went 
to Paris when young, and was instructed in the art 
by Charles Dupuis and Laurent Cars. His first 
manner was bold and free, and his plates in that 


style are preferred by some to the more finished 


and highly-wrought prints that he afterwards pro- 


bE duced, although it must be confessed that the 


latter are executed with great neatness and delicacy. 
Beauvarlet married, in 1761, Catherine Jeanne 


_ Francoise Deschamps, a young lady who possessed 


some skill in engraving, but who died in 1769 at 
He married again in 1770, 
but became for a second time a widower in 1779. 
Hight years later, in 1787, he married Marie 
Catherine Riollet, who, like his first wife, was an 
She was born in Paris in 1755, and is 
said to have died in 1788. Beauvarlet himself 
The following are his 
principal works: 


PORTRAITS. 


_ Marie Adelaide, daughter of Louis XV.; after Nattier. 
Louis Joseph Xavier, Duke of Burgundy; after Fredou. 
Mille. Clairon, actress; after Van Loo; by Laurent Cars 

and Beauvarlet. 
The Abbé Nollet ; after La Tour. 
Edme Bouchardon, sculptor: after Drouais. 1776. 
Jean Baptiste-Poquelin de Moliére; after S. Bourdon, 
The Marquis de Bomballes; after Roslin and Vernet. 
Catharine, Princess Galizin ; medallion. ; 
Ferdinand, Duke of Brunswick. 
Madame du Barry ; after Drouais. 


SUBJECTS AFTER VARIOUS MASTERS, 


Lot and his Daughters ; after Luca Giordano. 

Susannah and the Elders ; after the same. 

Perseus, combating Phineus, shows the Head of Medusa; 
after the same. 

Acis and Galatea; after the same. 

The Judgment of Paris; after the same. 

The Rape of Europa; after the same. 

The Rape of the Sabines ; after the same. 

Susannah and the Elders; after Guido Canlassn. 

The Sewers ; after Guido Reni ; very highly finished. 

The Incredulity of Thomas ; after Calabrese. 

Venus lamenting the Death of Adonis; after A, 
Turchi. 

La Rusée ; after C. Vega. 

The Double Surprise; after Ger. Dou 

The Fisherman ; after H. Carré. 

The Tric-trac Players ; after Teniers. 

The Bagpiper ; after the same. 


PAINTERS AND ENGRAVERS, 


_The Burgomaster ; after Ostade 
Diana and Actzon ; ve Rottenhammer. 
The Bathers ; after Boucher. 
The Trap ; after the same. 
Cupid chained by the Graces ; after the same. 
The Children of the Count de Béthune; after Drouais, 
Le Colin Maillard ; after Fragonard. 
The Chastity of Joseph; after Nattier. 
Susannah and the Elders ; after Vien. 
The Offering to Venus ; after the same. 
The Offering to Ceres; after the same. 
Cupid holding his Bow ; after C. van Loo, 
La Confidence ; after the same. 
The Sultana; after the same. 
Lecture Espagnole ; after the same. 
Conversation Espagnole ; after the same. 
Telemachus in the Island of Calypso ; after Raoux. 
The Toilet, and the Return from the Ball; two com- 
panions ; after De Troy. 
Seven prints of the History of Esther ; after J. F. de 


voy. 
A Subject from an Antique Painting at Herculaneum. 


A catalogue of his works was published at Abbe- 
ville in 1860 by l’Abbé Dairaine. 

BEAVIS, RicHarp, was born at Exmouth in 
1824, and spent. his early life at Sidmouth. His 
boyish leanings towards art were sternly repressed 
by his father, and it was not until 1846 that, en- 
couraged and assisted by some friends, he made 
his way to London and became a student in the 
Government School of Design, Somerset House. 
In 1850 he became designer to a firm of decorators 
in Parliament Street, and his earliest exhibited 
works at the Royal Academy, in 1855, 1858 and 
1860, were schemes of decoration executed for 
them. He continued at the same time during his 
leisure moments to practise both in oils and water- 
colours, and after exhibiting several times at the 
British Institution, obtained the admission to the 
Royal Academy, in 1862, of two pictures, ‘A 
Mountain Rill’ and ‘ Fishermen picking up Wreck 
at Sea.’ The success, financial as well as artistic, 
of these works was sufficient to justify him in 
devoting himself thenceforward to purely artistic 
production, and he became a regular contributor to 
the exhibitions, residing or travelling abroad for 
many years and choosing his subjects accordingly, 
in France, Holland, and Egypt. He was elected 
an associate of the Royal Society of Painters in 
Water-Colours in 1882, a member in 1892, and 
died on November 13, 1896. 

BECCAFUMI, Domenico pi Pacr, was the son 
of a certain Giacomo (Jacopo) di Pace, a labourer 
on the property of the Sienese noble, Lorenzo 
Beccafumi, at Cortine, near Montaperto, in the 
Province of Siena, and was born there in 1486. 
The boy early showed remarkable artistic promise, 
and used to amuse himself modelling animals, 
flowers and leaves in clay. His father’s employer 
having seen these works, and being struck with 
their merit, took him into his house as a sort of 
servitor, and gave him there opportunities for 
studying Art. Near his home there was then 
living an artist, named Mecarino, of poor abilities 
and circumstances, but possessing a fine collection 
of drawings by good masters, These the young 
Domenico di Pace studied carefully, and on 
Mecarino’s death, by the artist’s special wish, 
assumed his name. He is therefore frequently 
referred to in Sienese Art-History as [1 Mecarino 
(sometimes spelt Mecherino) ; the surname of his 
first patron Beccafumi being assumed in later 
years, ; 

Vasari tells us that it was while at work in 
Rome that he heard of the artistic fame of the 

, 103 


A BIOGRAPHICAL DICTIONARY OF 


Vercellese Giovanni Antonio Bazzi, newly arrived 
in his native city; reports, which brought him 
home to study for a time under that painter, whose 
influence his works so strongly betray, but whose 
bitter rival he subsequently became. In Rome he 
studied carefully the works of Raphael and Michael- 
angelo, but his best works are to be found in 
Siena itself. He was largely employed by his 
fellow-townsmen, not only in executing works of 
art of all kinds, but as critic, valuer of, and 
authority on, the works of other artists. Ex- 
amples of his work as a bronze founder may 
be seen in six angels holding lamps in the choir 
of the Cathedral at Siena, for which he received 
11,600 lire. His most highly-praised works: 
‘Scenes from the Old Testament,’ &c., inlaid on 
the Pavement of the Cathedral, are hardly worthy 
of the lavish encomiums that have been expended 
upon them. The drawing in them, which may be 
better enjoyed from the Cartoons, some of which 
are still existing in the Siena Academy, and 
from the large woodcuts by Andrea Andreani, 
which may be seen in the Uffizi Gallery and 
Marucelliana Library in Florence, is remarkably 
fine; but his attempts to produce a tour de force 
with chiaroscuro effects in parti-coloured marbles 
are not altogether satisfactory, and do not com- 
pare to advantage with the simpler work of his 
predecessors in the same place. His paintings, 
clearly influenced by the stronger artistic per- 
sonalities with whom he came in contact at various 
times, are generally unpleasing; his figures being 
often curiously elongated. His composition and 
colouring, however, occasionally have considerable 
merits. In 1513, in rivalry with Bazzi, he decorated 
in fresco the fagade of the Palazzo dei’ Borghesi 
in Siena. In 1518, in competition with Bazzi and 
Girolamo del Pacchia, he executed certain scenes 
from the ‘Life of the Virgin’ (her Marriage and 
Death), and also an altar-piece for the Oratory of 
St. Bernardino, In 1529, and again in 1535, he 
was employed to decorate the Sala del Concistoro 
of the Palazzo Pubblico: and in 1536 he was 
associated with Anton Maria Lari (nicknamed i 
Tozzo),in designing and erecting a triumphal arch, 
avast papier-maché horse and other decorations 
in honour of the visit of the Emperor Charles V. 
Several of the private palaces in Siena contain 
wall and ceiling decorations by this master: and 
we read that he was also employed to complete 
the famous banner, painted by Bazzi in 1525, for 
the Compagnia di 8. Sebastiano in Camollia. By 
some authorities he is said to have died on Ma 
19, 1550; others state that his death did not 
occur until the following year. His principal 
works, exclusive of those already mentioned, are 
to be found: 


Pisa, Cathedral. Scenes from the Old Testament, 
and the four Evangelists. 
Florence. Putti. Holy Family. 
Genoa. See Holy Family. 
Siena. Academy. Descent into Limbo. 
Se + Fall of the Rebellious Angels. 
B Bo St. Catherine receiving the Stig- 
mata. 
i Fe The Birth of the Virgin. 
- Church of 


Bi ey ee } St. Michael subduing Satan. 


Munich. Pinakothek. Holy Family. ; 
London. Wat. Gallery. Marriage of St. Catherine (?). 


R. H. H.C. 
104 


‘none, whose manner he followed: he painted with 
considerable reputation, both in oil and in fresco. 


Y |of Becerra are very rare, and are much esteemed 


hand of a great master, although they may not 
be so pleasing to those who are accustomed to look 
for neatness of handling, He sometimes marked 
his prints with his name, Micarino fe., and some- 
imes with a B, divided in the middle, thus . 
We have the following prints by him: 
Paulus III. Pontifex Maximus; without a name. 1515. 


An Old Man standing, and a Young Man lying down; . 


Micarino, fee. ; 
Three Academy Figures ; without a name. 
The Nativity ; after Titian ; a woodcut, fine. 


The Virgin embracing the Infant Jesus; a woodcut, 


three tints. 

St. Peter holding a Book and the Keys; a woodcut, in 
chiaroscuro. 

St. Philip holding a Book and a Cross ; the same. 

St. Andrew, with his Cross ; the same. 

A Philosopher, with a Cloak, sitting ; the same. 

St. Jerome kneeling before a Crucifix ; a woodcut. 

Ten subjects of Alchemy, on the first is inscribed Meca- 
rinus de Sinis inventor. 

BECCARUZZI, Francesco, was born at Cone- 

gliano, in the Friuli, and was a disciple of Porde- 


Many of his works, in the churches and convents 
at Trevigi, are described by Ridolfi. One of his best 
performances, according to that author, was the 
picture he painted for the church of the Francis- 
cans, at Conegliano, representing St. Francis re- 
ceiving the Stigmata, with several Saints. Becca- 
ruzzi flourished in the 16th century. 


BECERRA, Gasparo, a Spanish artist of great 


celebrity, was born at Baeza, in Andalusia, in 1520. 
He excelled as a painter, a sculptor, and an architect. 


The patronage bestowed on the arts by Charles V. — 4 


induced Becerra to visit Rome for improvement; 
he went at a time when Michelangelo was in the 
zenith of hisfame; and it is said by Palomino, that 


he had the advantage of studying under that great 


As an engraver, we have by him some excellent 
woodcuts ; and he engraved some plates, both — 
etched and with the graver only, which show the 

a 


‘om 


; 


master. He was much influenced by the works of __ 


Raphael and of Daniele da Volterra. On his return, 


in 1556, he was taken under the protection of Philip 3 


II., and executed some works in fresco, in the palace 
at Madrid, which attracted general admiration. In 
1563 he was appointed painter to the Court. He 
was one of the first reformers of the Spanish 
school, by introducing a superior style, founded on 
that of Buonarroti. Many of his works are in the 
public edifices at Madrid, Valladolid, Astorga, and 
Zamora. He died at Madrid in 1570. The designs 


for the great care he bestowed on them; for he 
justly considered design as the foundation of 
painting. [For a full accountof his works in 
the public buildings, see Bermudez’s ‘ Diccionario 
historico.’ ] “tty 

BECHON, J., a native of France, who flourished 
about the year 1670, engraved several plates of 
landscapes, executed in a clear, neat style. 

BECK, August, a designer and painter, born at 
Basle, in Switzerland, in 1823, studied art at Dussel- 
dorf; his works chiefly represent horses and battle 
scenes. From 1859 up to 1871 he drew for the 
illustrated paper of Leipsic. 
1872. : : 

BECK, Davin, was born at Arnheim (or Delft) in 
1621. He had the advantage of being a scholar of 
Van Dyck, and became one of his ablest disciples. 
He was at least the most successful. King Charles 


He died at Thun in 


MVT WHHL TO SHTAVI AWHL ANV SHSOW WO AMOLS AHL 


2DAPOYJDD BUAIS “FUIMIAVET 2Y) ULOALT | [opoyd spavguio'y 


I. favoured him with his patronage, and he was 
appointed to instruct the Prince of Wales and 
uke of York in drawing. Beck is said to have 
nted with unusual promptitude and facility, 
ich, being remarked by the king when sitting to 
him, occasioned that monarch to tell him pleasantly 
_ that he believed he could paint if he were riding 
_ post. After passing some years in England, he 
_ visited Sweden, where he was received with dis- 
tinction by Queen Christina, who appointed him 
her principal painter and chamberlain. Notwith- 
standing the flattering protection he received from 
the queen, his desire to revisit his native country 
_ prompted him to solicit permission to return to 
- Holland, which he with difficulty obtained, under 
- apromise to return. His attachment to his country 
_ prevented his fulfilling his engagement, and he 
died at the Hague in 1656. 
_ BECKENKAMP, Caspar BENEDICT, who was 
born, in 1747, in the valley of Ehrenbreitstein, near 
oblence, studied under his father and Jan Zick, at 


landscapes, after C. G. Schiitz; but afterwards 
changed to portraiture. He settled at Cologne, 
and imitated with success the style of painting of 
the old German masters. He died in that town in 
1828. Several portraits by him are in the Wallraf 
_ Museum, Cologne. For the church of Santa Maria 
in Littore, Cologne, he painted a copy of a Pieta— 
once in that church, and now in the Stadel Gallery 
__ —formerly ascribed to Schoreel, but now given to 
_ Mabuse. 
BECKER, Aueust, landscape painter, was born 
at Darmstadt in 1822. He studied in his native 
town under Schilbach, and afterwards settled at 
_Diisseldorf. He several times visited Queen Vic- 
toria at Balmoral, where he painted a series of 
pictures of Highland scenery, and gave lessons to 
the young princesses. In 1862 he became teacher 
_ to the Hereditary Princess of Hohenzollern. He 
_ died at Diisseldorf in December, 1887. 
BECKER, Frrpinanp, was born at Gousenheim 
in 1846. He entered the studio of Steinle, at 
Frankfort, in 1868, and afterwards removed to 
_Mayence, where he painted his most celebrated 
work, ‘Juden im Dom.’ He also illustrated the 
German ‘ Mahrchen.’ He died in 1877. 
BECKER, Jaxop, born at Dittelsheim, near 
Worms, in 1810, learned the rudiments of painting 
in his native town. He went to Dusseldorf in 
1833, and painted under Schirmer first landscapes, 
afterwards romantic pieces, and finally genre, in 
_ which latter branch he especially excelled. In 
1840 he became Professor at the Stadel Institute 
at Frankfort, and was subsequently elected a 
member of the Academies of Berlin and Brussels. 
_ He died at Frankfort in 1872. Amongst his best 
__ works may be mentioned : 


j A Farmer’s family praying for the sick mother. 
j Evening at the Well in the Westerwald. 
| The Warrior returning home. 
; The Wounded Poacher (in possession of the Count 
; Raczynski, Berlin). 
A Shepherd killed by lightning (painted in 1844, Stddel 
| Institute). 
The returning home from the harvest-field (engraved by 
Steifensand). 


BECKER, Louis Hueo, a painter and etcher, born 
at Wesel in 1834, studied landscape painting under 
Schirmer and Gude, at Dusseldorf, about 1852. He 
afterwards visited Westphalia, the Upper Rhine, the 
Moselle, Switzerland, Normandy, and the neighbour- 


At first he devoted himself to painting. 


PAINTERS AND ENGRAVERS. 


hood of the Baltic. In 1861 he obtained a medal 
at Metz. He died at Dusseldorf in 1868. Among 
his landscapes the most important are: 

The Sacrifice of the Old Germans (in possession of Gl 

v. Griben). 

The Passing Storm. 

Sunday Morning. 

The Shepherd on the Pasture. 

Christmas Eve. 

The Vine-crop on the Moselle. 


BECKER, Puitipp Jakos, a German painter, 
was born at Pforzheim in 1763. At seventeen 
years of age he went to Rome, where he studied 
and formed his style under Raphael Mengs and 
Maron. In 1785 he returned to Carlsruhe, having 
acquired in Italy a high degree of skill in every 
technical requirement of his art. But he was want- 
ing in poetic fancy, and did not succeed in any 
remarkable manner in oil-painting. He died at 
Erlenbad in 1829. He left a large number of 
drawings in crayons and sepia, many of them 
copies, but all admirable for the taste and finish 
displayed in their execution. He was for many 
years Director of all the collections of paintings 
and engravings of the Grand Duke of Baden. 

BECKET, Isaac. This artist was one of the 
earliest mezzotint engravers in England. He was 
born in Kent in 1653, and was bred to the busi- 
ness of a calico-printer; but becoming acquainted 
with Lutterel, who had made some progress in the 
art of mezzotint engraving, he learned from him 
the process, and executed in that way several 
plates, of which some are portraits. We have the 
following by him: 

PORTRAITS. 

Sir Godfrey Kneller ; from a picture hy Kneller. 

Charles II.; after Kneller. 

James, Duke of York ; after the same. 

Henry, Duke of Grafton; after T. Hawker. 

The Duchess of Grafton ; after Wissing. 

Charles Melford; after the same. 

Sir Peter Lely ; Seipse, pinz. 

George, Prince of Denmark; after Riley. 

Henry Compton, Bishop of London; after the same. 

Christopher, Earl of Albemarle ; a Murray. 

George, Duke of Buckingham ; after Verhelst. 

John Maitland, Duke of Lauderdale; after Riley. 

Henry, Duke of Norfolk. 

Thomas Cartwright, Bishop of Chester ; very scarce 

Lady Williams; full length. 

Adrian Beverland, drawn from a statue. 


SUBJECTS AFTER VARIOUS MASTERS. 
The Virgin Mary and St. Joseph, with the Infant Jesus 
asleep, with two Angels; without name of painter. 
Time cutting the Wings of Love. 
A Landscape, with a Shepherd and Shepherdess. 
The Dutch Schoolmaster; after Heemskerk. 
The Village Barber Surgeon ; after J. Lingelbach. 


BECKMANN, Kart, landscape and architectural 
painter, was born in 1799, at Berlin. He received 
his art education chiefly in the studio of Wach. 
During 1824 he spent a short time in Paris ; and 
passed the period between the summer of 1828 and 
the spring of 1833 in Italy. He was afterwards 
appointed Professor of Architecture and Perspec- 
tive to the Royal Academy of Berlin. For his 

ure art-tendency, although he was engaged in 
other departments, he was indebted to Wach, and 
his residence in Italy increased his powerful com- 
bination of form and colour, which give to those 
pictures of his, which treat chiefly of architectural 
subjects, such a solid vigorous stamp. He died 
at Berlin, in 1859. A ‘ View of the cloister of San 

105 


i oe Te 


ee SIPEG Se eee er ene ee 
MA Ll oaee ; Ba SY iN ra ee oe CP res aimee 


oA BIOGRAPHICAL DICTIONARY OF ; 


Benedetto, near Subiaco, by him, is in the National 
Gallery at Berlin. 

BECKWITH, Tuomas, a native of Yorkshire, 
was first apprenticed to a house-painter at Wake- 
field, but soon displayed talents as a_ portrait 
painter; he also made many drawings of the 
churches in the neighbourhood. He latterly re- 
sided t York, where he died in 1786. He pub- 
lished ‘ A Walk in and about the City of York.’ 

BEDAFF, ANTONIE .ALOISIUS EMANUEL VAN, an 
historical and portrait painter, was born at Ant- 
werp in 1787. Three of his works, ‘The first 
Meeting of the Estates at Dordrecht,’ ‘The Last 
Interview between the Prince of Orange and Count 
Egmont,’ and ‘The Confederation of the Nobles,’ 
are in the Gallery at Haarlem. He died at Brussels 
in 1829. . 

BEDUSCHI, AnToNIo, a native of Cremona, 
born in 1576, was a scholar of Campi, whose 
manner he imitated. He is mentioned by P. 
Carasi, and two pictures, painted by him in his 
26th year, are commended for the promise they 
give of future excellence: one is the ‘Martyrdom 
of St. Stephen,’ and the other a ‘Pieta,’ for San 
Sepolcroin Piacenza. The time of his death is not 
stated, but he was living in 1607. 

BEECHEY, Grorce D., a son of Sir William 
Beechey, followed his father’s profession. From 
the year 1817, he was a frequent exhibitor at the 
Royal Academy. About 1830, he went to India, 
where he attained great celebrity, and was made 
portrait painter and Controller of the Household to 
the King of Oude. A } rtrait of Hinda, an Indian 
lady whom he married, was exhibited in the Royal 
Academy, London, and created a great sensation 
x time; but he died early, in India, about 
1856. 

BEECHREY, Sir Wituiamy, an English portrait 
painter, born in 1753, was a native of Burford in 
Oxfordshire. In early life he was placed with a 
solicitor at Stow, but becoming acquainted with 
some of the painters of the day, he took a fancy to 
art, and began the practice of portrait painting. 
In this he distinguished himself so much that he 
was patronized by George the Third, and was 
made portrait painter to Queen Charlotte, and lived 
much at Windsor as instructor to the princesses, 
who entertained the strongest regard for him to 
the end of his life. He was elected an Associate 
of the Royal Academy in 1793, and an Academician 
in 1798. He painted, in 1798, a ‘ Review of the 
Horse Guards,’ in which the portraits of George 
the Third, the Prince of Wales, and the Duke of 
York, were introduced, and for which he was 
knighted. This picture is now at Hampton Court. 
He at one time attempted fancy subjects, and 
‘The Morning Star’ and ‘The Evening Star,’ the 
portraits of his daughter Lady Grantley as Hebe, 
of Lady Georgina Bathurst as Adoration, are 
beautiful examples of his skill in this direction; 
but finding the painting of good likenesses was 
~ more profitable, he confined himself latterly to 
that style. He died at Hampstead, in 1839. In 
sixty-four years he sent no less than 362 portraits 
to the exhibitions of the Royal Academy. 


Dulwich. Gallery. 


”? 99 


Portrait of Charles Small Pybus, M.P. 
Portrait of John Philip Kemble. 

a oe Portrait of Sir P. F. Bourgeois, R.A. 
Hampton Court. 


(Palaae, t A Review of the Horse Guards. 


London. Jat. Gall. Portrait of Joseph Nollekens, R.A., 
_the sculptor. 
106 


The portraits of Sir William Beechey, which still 


adorn the public halls and family residences of the 
country, are celebrated for their truth to nature, 


and for the freshness of colour which they still 


a 


retain. — 

BEECK, Jan, was born at Looz, and was amonk 
of the convent of St. Lawrence, near Liége, of 
which he became the abbot in 1509. He is con- 
sidered, after the brothers Van Eyck, to be the 
most distinguished among the ancient painters of 
Liege. 
ee in the church-of his convent, and died in 1516. 

BEECQ, JEAN CHARLES DomIniquE, a Dutch 
marine painter, who was born at Amsterdam about 
1640, established himself in Paris about 1680, and 
became a member of the Academy in 1681. 


sea-pieces have been engraved by Fouard. 


BEEKE, A. VAN, who lived in the middle of the 


17th century at Bodegraven, in Holland, was an 

excellent painter of fruit-pieces, dead birds, &c. In 

the Royal Gallery at Vienna is a still-life subject. 
BEELDEMAKER, Frans, the son of Jan Beelde- 


maker, was born at the Hague, in 1669, and was 
first instructed by his father; he then studied under _ 
Willem Doudyns, an historical painter of some 


celebrity. After passing some years in Italy, he 


returned to Holland, where he was employed in ~ 
painting historical subjects and portraits. He was 
admitted a member of the Academy at the Hague. 
In 1717 he left the Hague and went to live near _ 


Rotterdam, where he died at a very advanced age. 


BEELDEMAKER, Jan, a Dutch painter, was 
born at the Hague in 1630, and died in 1680. It — 
is not said by whom he was instructed, but he ~ 


excelled in painting boar and stag hunts. They 
are chiefly of small dimensions, and are frequently 
seen in England. 

BEERINGS, GreEcorivs, was born at Malines 
about 1500, and died in 1570. He studied in Italy, 
and produced some good pictures of landscapes 


with architectural ruins; but being of dissipated — s 


habits, his talents were never fully developed. 


BEERSKI, Count de, miniature painter, was a 
Russian nobleman, the owner of an estate near — 
Moscow, who, on the accession of the Emperor — 


Nicholas, was obliged to leave Russia on account 
of his liberal views. 
enforced exile, and having a taste for drawing, he 
took to miniature painting, residing in Paris, Ham- 
burg, and London, 
1851, some of his paintings were exhibited and ob- 


tained first-class honours. He emigrated to America 


in 1859, and died at Rochester, U.S., in 1869. 
BEERESTRAATEN, ALEXANDER, is the name 
given to the author of three paintings, signed A. 
Beerestraaten, in the Galleries of Berlin, St. Peters- 
burg, and Copenhagen. 


burg pictures to be by the hand of Jan Beere- 


straaten, of whom Alexander is supposed to have 


been a brother. 


BEERESTRAATEN, Jan, was born at Amster- : q 
dam in 1622, and was christened on the 31st of 
May in the old parish church. His father, Abraham 


Jans, a cooper, assumed the name of Beerestraaten, 


probably because he resided in the Beeren-straat. = 


In 1642 Jan married Magdalena van Bronckhorst, 
who bore him five children. 


straaten is essentially an Amsterdam painter, 


He | 
died, probably in Holland, in 1722. Some of his 


Being entirely ruined by his 


ie: 


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a 


He painted the greater number of the pic- — q 


At the Great Exhibition in | 


M. Havard denies his x | 
existence, and considers the Berlin and St. Peters- 


He finally died at 4 
Amsterdam, it is supposed, in 1687. Jan bo ea 
e 
was born, painted, and died in that city; and it is 2 


Sie Wwe be D@Li.y. 


[Louvre, Paris 


THE BROTHER AND SISTER 


FRANCESCO BONSIGNORI 


Venice 


z e Paolo, 


San Giovann 


f 
L 


Anderson photo| 


DETAILS OF A POLYPTYCH 


and dated 1507. No further information can be 


___ given of this artist. He is thought to have been 


<5 ro 
an é 


— A a 
Saas 


a native of Pavia. 
~ BONONI, Carto, was born at Ferrara in 1569, 


_and was instructed in the art by Giuseppe Mazzuoli 


(called I] Bastaruolo), under whom he studied until 
he was twenty years of age. Contemporary with 
Ippolito Scarzellino, and unable to equal him in 


_ the tenderness of his tints and the beauty of his 


expression, he endeavoured to rival him in the 


boldness of his design and the vigour of his colour- 


ing. Bent on improvement, he visited Bologna, 


fame. 


where the Carracci were then in the zenith of their 
_ Their works inspired him with a new idea 
of his art. After passing some time at Bologna, 
he went to Rome, where he improved his style of 


_ design by studying after the antique. His predi- 


lection for the style of the Carracci drew him 
again to Bologna, where he copied some of their 
principal works. He afterwards went to Venice, 
where the splendid productions of Paolo Veronese 
appear to have excited the liveliest admiration. 


- The works of Correggio at Parma seem to have 


been not less the objects of his contemplation. 
In his smaller works he approaches so near to the 
style of the Carracci that he was called ‘the 
Carracci of Ferrara.’ In his extensive decorative 
works he exhibits the magnificence and richness 
of Paolo Veronese. Such are his ‘ Feast of Ahas- 
uerus,’ painted in the refectory of the Regular 
Canons at Ravenna, the ‘ Feast of Herod’ in San 
Benedetto, and the ‘Miracle at Cana’ in the 
refectory of the Certosini at Ferrara. The Uffizi, 
Florence, possesses a ‘ Liberation of St. Peter from 
Prison’ by him, and in the Modena Gallery there 
are four of his works, He died at Ferrara in 1632. 
_ BONONTI, Lion&11o, was the nephew and scholar 
of Carlo Bononi, and flourished about the year 
1749. The excellent instruction of his uncle might 
have enabled him to arrive at celebrity in the art, 
but his negligence and depravity prevented his 
success. His most creditable performances are 
two pictures he painted for the chapel of the 
hospital of Santa Maria Novella, representing 
‘The Visitation of the Virgin to St. Elizabeth,’ and 
‘The Holy Family.’ 

BONONIA, Jac. DE Avaciis DE, 
AVANZI. 

BONONIA, Smmone pa. See Botoena. 

BONONIENSIS, Fr., was an Italian engraver, 
by whom we have some very spirited etchings, 
executed in a bold, masterly style. They are 
chiefly from thé works of Paolo Veronese, and are 
usually signed with his name. 

BONSER, J., was a native of Holland, who 
worked there and at Lyons between the years 1629 
and 1642. He was principally employed by the 
publishers, for whom he engraved, among other 
book-plates, some frontispieces in a very indif- 
ferent style, with figures and ornaments. 

BONSIGNORI, Francesco, (miscalled by Vasari, 


See DEGLI 


_and others after him, Monstenori,) was born in 1455 


at Verona, where he lived under the influence of 
Liberale till he was thirty-two years of age. He 
then visited Mantua in 1487, and became influenced 
by the works of Mantegna. He painted historical 
subjects with much success, and was largely patron- 
ized by the Marchese Francesco Gonzaga. He died 
at Caldiero, near Verona, in 1519. Less learned 
and correct in his design than Mantegna, he is more 
modern in his style; and his colouring, particu- 


larly in the carnations, has more of the morbidezza. 


PAINTERS AND ENGRAVERS. 


He excelled in painting animals, which he was 
fond of introducing into his works; and from the 
fact that his paintings of these occasionally de- 
ceived other animals, he was called ‘the modern 
Zeuxis.’ In the Brera at Milan is one of his best 
pictures, representing ‘St. Louis;’ and in the re- 
fectory of the church of the Franciscans at Man- 
tua are some perspective views, which show him 
to have been a perfect master of that branch of 
art. His last production was ‘The Vision of Christ 
to the nun Ozanna,’ dated 1519, and now in the 
Academy at Mantua. Of others may be mentioned: 


Florence, Bargelio, Christ bearing the Cross. London, 
National Gallery, Portrait of a Venetian Senator 
(signed FRaNciscus BonsiGNoRIus VERONENSIS P 
1487). See cartoon in the Albertina Library at 
Vienna. Mantua, Academy, Christ ascending 
Calvary; Pal. Gonzaga, several paintings, 1495-6 ; 
S. Francesco, Last Supper, 1506; S. M. d. Grazie, 
St. Sebastian. Verona, Gallery, Madonna enthroned 


with four Saints; 8. Bernardino, Madonna, Child,and ~ 


Saints, 1488; §. Wazaro, Madonna, with Saints, 
1514. Vienna, Albertina Col., Hight portraits in 
black chalk, 1487. 


BONSIGNORI, Fra GiroLamo, (miscalled Mon- 
SIGNORI,) the brother of Francesco Bonsignori, was 
born at Verona about the year 1440. ‘At an early 
period in his life he became a monk of the order 
of the Dominicans, and in the church of his monas- 
tery he executed some altar-pieces, He at first 
studied the works of Mantegna, but in his later 
productions he followed the style of Fiesole. He 
also studied Leonardo da Vinci, and produced ex- 
cellent copies of some of his works ; in particular, 
of the ‘ Last Supper.’ 
great library of San Benedetto at Mantua, but now 
in the possession of Count Arco at Paris. He 
also painted a ‘St. John,’ which is now in the 
Zecca at Milan. Among his early paintings there 
is, besides the altar-piece, a ‘ Last Supper’ in the 
Dominican monastery, and a ‘ Madonna’ in fresco 
in Santa Anastasia at Verona. He died of the 
plague at Mantua about 1519. Another brother 
of Francesco, Fra CHERUBINO BONSIGNORI, excelled 
in miniature painting. 

BONSTETTEN, Azsr. Siem. AUGUST VON, a Swiss 
landscape painter, born in 1796, of a good family. 
He was brought up for the military service, and 
served in a Swiss regiment in the pay of the 
Dutch Government. After the separation of 
Belgium from Holland, he gave up soldiering and 
devoted himself entirely to art. Possessed of con- 
siderable property, his works but seldom appeared 
at the public exhibitions. He died at Sinneringen, 
near Berne, in 1879. 

BONTEKRAAY. See Mytens, Dan. 

BONVICINO, ALEssanpDRo, one of the best 
painters of northern Italy of the sixteenth century, 
commonly known as MoreETTO; was born at Rovato, 
near Brescia, about 1498. He at first studied 
under Ferramola, whom he assisted in the painting 
of an organ screen in the cathedral of Brescia in 
1518. It is said that he was a pupil of Titian, 
whose style he approached nearer than any of his 
countrymen; but whether he worked under him 
at Padua, Venice, or Vicenza is not known. His 
portraits have been compared to those of that 
great master. Romanino’s work also had great 
influence on his style. Moretto imparted instruc- 
tion to the famous portrait-painter Moroni. In 
later life, he attempted to introduce into his 
works something of the greatness of ag eae be 


It was originally in the. 


A BIOGRAPHICAL DICTIONARY OF 


became the author of a very attractive style. An 
uncommonly graceful turn of his heads, an ex- 
pression of devotion and fervent piety in his 
figures (which generally represents sacred sub- 
jects), a freshness of colour approaching to Titian, 
are the characteristics of the works of Bonvicino, 
He occasionally painted in fresco, but was less 
successful in this than in oil. The date of his 
death is unrecorded ; he painted as late as 1554, 
and died probably in 1555. He was buried in the 
church of San Clemente, Brescia, which city pos- 
sesses many of his best works. The following is 
a list of Moretto’s most important paintings :— 


Berlin, Museum, Virgin and Child, St. Elizabeth, and 


Saints (stgned ALES: MORETTVS Prix F MDXLI) ;_ 


Adoration of the Shepherds (szgned). Brescia, S. 
Clemente, Five Virgin Martyrs; Ascension of the 
Virgin; St. Ursula; S. Francesco, Majesty of St. 
Margaret, 1530; S. Giovanni Evangelista, Coronation 
of the Virgin (an early work); Massacre of the 
Innocents; Scenes from the Life of John the Baptist 
(painted zn 1521 in competition with Romanino) ; S. 
Maria delle Grazie, Enthronement of St. Anthony 
of Padua; S. Maria Calchera, Christ in the house of 
Simon, 1544; Gallery, St. Nicholas of Bari, 1539, 
and many others; SS. Nazaro e Celso, Coronation of 
the Virgin; Transfiguration, 1541; Tos¢ Coil., 
Virgin and Child in Heaven; Supper at Emmaus; 
Portraits. Florence, Uffizi, Portrait of a Man; 
Descent of Christ into Hades. Frankfort, Stddel, 
The Virgin and Child with SS. Anthony and 
Sebastian. London, Wational Gallery, Portrait of 
Count Sciarra Martinengo Cesaresco; St. Bernardino 
with various Saints; Portrait of an Italian Noble- 
man, 1526. Paris, Louvre, St. Bernardino of Siena 
and St. Louis of Toulouse; St. Bonaventura and St. 
Anthony of Padua. Petersburg, Hermitage, Faith 
(formerly called a Palma Vecchio). Venice, S, 
Maria delia Pieta, The Feast of the Pharisee (signed 
AEX Morerttus Brix. F. Mpxtvut). Verona, S. 
Giorgio Maggiore, Virgin and four female Saints, 
1540. Vienna, Belvedere, St. Justina and a Knight 
(one of his best works; formerly ascribed to Pordenone 
and engraved, by Rahl, as his work). 

BONVIN, Francois Saint, a French painter of 
still-life and of interiors in the style of Chardin, 
born at Vaugirard, Paris, November 22, 1817. 
His father was a garde-champétre, and Bonvin 
was educated in the drawing-school of the Rue 
de ’Ecole de Médecine. For more than thirty 
years he was a constant exhibitor at the Salon, 
gaining the Legion of Honour in 1870. In 1881 
he entered the Hospital of Saint Jean de Dieu to 
be operated on for the stone, and for the rest 
of his life was an invalid. He died in 1888. 
Pictures ; 


L’Kcole des Orphelins (Langres Museum); La Charité 
(Mort Museum); Le Réfectoire; Servante a la 
Fontaine (Luxembourg Museum). 


_ BONZ’ Pirro Paoxo, who was born at Cortona, 
is generally known as IL Goxspo (the Hunchback). 
He‘s netimes called da Cortona, from his birth- 
plas /sometimes de’ Carracci, from his having 
been™rought up in their academy; most fre- 
quently dalle Frutta, from his excellence in paint- 
ing fruit. He first attempted historical painting, 
and gave proof of his incompetency in his picture 
of ‘The Incredulity of St. Thomas, in the Rotunda 
at Rome. He was not much more successful in 
landscapes. But he surpassed every artist of his 
country in painting fruit, His arrangement of 
these objects is tasteful and picturesque, and his 
colouring has all the voluptuous richness of nature, 
with a relief that is perfect deception. His works 
i sie ornaments of several of the palaces at 


Rome, particularly the festoons in the Palazzo 
Mattei. His oil pictures are not less admired than 
his works in fresco. In the Stockholm Gallery 
are five fruit pieces by him. A male portrait by 
him is in the Berlin Gallery ; and in the Louvre is 
a picture, attributed to him, of ‘Latona turning 
the Peasants into Frogs.’ He died at Rome, aged 
60, ae the pontificate of Urban VIII. (1623— 
1644). 3 

BOOM. See VERBoom. 

BOON, DanieEL, a Dutch painter, flourished in 
England in the reign of Charles II. He painted 
drunken scenes and revellings, in which his ambi- 
tion appears to have been to introduce as much of 
ugliness and deformity as a mind naturally vulgar 
could conceive. He died in London in 1698. 

BOONEN, ARNOLD VAN, an eminent portrait 
painter, was born at Dordrecht in 1669. He was 
first a scholar of Arnold Verbius, but afterwards 
of Godefried Schalken. He painted genre pictures 
in the style of the latter, but met with such en- 
couragement in portrait painting that he devoted 
himself almost wholly to that branch of art. He 
was an excellent colourist, a faithful designer of 
his model, and was soon distinguished as one of 
the ablest artists of his day. He painted a great: 
number of portraits, among whom were Peter the 
Great, the Elector of Mentz, the Landgrave of 
Hesse-Darmstadt, the Prince and Princess of 
Orange, and the Duke of Marlborough. He 
painted some large pictures for the halls of the 
different companies at Amsterdam and Dordrecht. 
He died in 1729. The Dresden Gallery has seven 
works by him. His son, KASPER VAN Boonen, 
also painted portraits. 

BOONEN, JAsPER VAN, who was born at Dor- 
drecht in 1677, was a younger brother of Arnold 
van Boonen. He painted portraits with consider- 
able success. He died in his native town in 1729. 

BOOTH, WIt.iAM, who was born at Aberdeen 
in 1807, was noted for his female portraits in 
miniature. He exhibited at the Royal Academy 
from 1827 to 1845, the year of his death. 

BORCH, Grrarp TER. See TzR Borca. 

BORCHT, van DER. See VAN DER BorRcHT. 

BORCHT, Jacos A, an engraver, executed several 
of the plates for the ‘Académie de l’Espée,’ by 
G. Thibault, published at Antwerp in 1628. He 
worked entirely with the graver in a style resem- 
bling that of Jakob de Gheyn. 

BORDIER, Pierre, of Geneva, flourished in the 
17th century. He was the friend, and subsequently 
brother-in-law, of Jean Petitot the elder, and as- 
sisted him in many of his works, usualiy executing 
the hair of his portraits and the backgrounds. 
Works executed entirely by him are very rare, and 
he was more famous for his discoveries in modes 
of miniature painting and enamelling than for any 
particular picture. It is said that he was employed 
by the Parliament to paint a ‘Memorial of the 
Battle of Naseby,’ which they presented to Fairfax, 
their victorious general. See also PETiToT, JEAN, 
‘the elder.’ 

BORDINO, J. F., an Italian engraver, flourished 
about the year 1604. He engraved the plates for 
a volume in quarto, entitled, ‘Series et Gesta Pon- 
tificum,’ published in the above year. 

BORDONE, Paris, an eminent painter of the 
Venetian school, was born at Treviso in 1500. He 
was of a noble family, and after having received 


an education suited to his birth, as he had shown /- 


a decided inclination for art, he was placed in the 


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ALESSANDRO BONVICINO 


CALLED 


MORETTO 


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Hanfstingl photo] 


[National Gallery, London 
ST. BERNARDINO OF SIENA, WITH OTHER SAINTS 


PARIS BORDONE 


a, Venice 


CM17a 


[Accad. 


THE FISHERMAN BRINGING THE RING TO THE 
DOGE GRADENIGO 


Disctouscconcunaneal 


bi pis bearer nena, 


Naya photo) 


PARIS BORDONE 


Hanfstingl photo| [National Gallery, London 
PORTRAIT OF A LADY 


\ 


PAINTERS AND ENGRAVERS. 


_in Amsterdam that his best works must be sought | A Company of five Men and Women regaling. 


to this day. His pictures consist of coast-scenes 
and views in towns, with figures, 
Amsterdam. Gallery. The Boatmen’s House. 1 BEERE- 


STRATEN. 
a a Ruins of the Old Town-Hall at 
Amsterdam.. I BEERESTRAATEN. 
Sea fight between English and 
Dutch. I BEER-STRAATEN, 
Town Hall. View of the Dam, Amsterdam. 
J. BEERESTRATEN FT 
View of Amsterdam taken from 


” »” 


” ” 


; the Y. JOAN BEERSTRAATEN. 
en Six Coll, The Chapel of St. Olof at Amster- 
dam. BEERSTRAET. 
Berlin. Museum. Winter Landscape. J. Brur- 
: STRAATEN. 1664. 
Paris. Louvre. The Old Port of Genoa. JoHANNES 


t BEERSTRAATEN FECIT, 
Rotterdam. Musewm. View of Mayence. 1654, 

(For further information, see ‘ L’Art et les Artistes 

Hollandais,’ by Henry Havard, part iii., 1880.) 
BEESTEN, A. H. van, a Dutch painter of por- 

traits and bassi-rilievi, in which it is said that he 

excelled; but being a man of great modesty, he 

suffered others to turn his talents to their profit. 

_ He lived in the middle of the 18th century. 
BEGA, Apr. Corn. See BEGEIIN. 

_BEGA, Cornetis Pirrersz, who was born at 
Haarlem in 1620, was the son of a sculptor called 
Peter Begijn (or Beggijn), and Houbraken tells us 
that he changed his family name to Bega, on 
account of some irregularities of conduct, which 
had occasioned his father to disown him, This is 
doubted by recent writers, who think that perhaps 
Bega is only another form of Begijn. Bega was 
a scholar of Adrian van Ostade; and though his 
pictures are not equal to the admirable productions 
of that master, they have sufficient merit to rank 
him amongst the most interesting artists of his 
country. His pictures, like those of Van Ostade, 
represent Dutch peasants regaling and amusing 
themselves, and the interiors of Dutch cottages. 


He treated thosé subjects with a most humorous 


delineation of character; and his pictures are de- 
_servedly placed in the choicest collections. He 
‘became a member of the Guild of St. Luke in 
1654; and died at Haarlem in 1664, of the plague, 
caught while attending a lady suffering from that 
disease, to whom he was to have been married. 
The following are some of his best works: 


Amsterdam. Museum. The Philosopher. 
7 cs Peasants’ concert. 
Berlin. Gallery. Lady playing the lute. 
a om Peasant Family. 
oe - Alehouse. 
Cassel. Gallery. Interior. 

” * The Chemist (szgned and dated 1661). 
Dresden. Gallery Peasants dancing (signéd). 
Florence. Uffizi. Groups of players. 

A fie A man playing the lute. 
a a A woman playing the lute. 
Frankfort. Stddel. Interiors (three). 
Hague. Gallery. Interior of an Inn. 
Munich. P2nakotk. Interior. 
Paris. Louvre. Interior (signed and dated 1652). 


Petersburg. Hermitage. Interiors. 


He left about thirty-seven etchings, among which 
are the following : 
An interior of an Alehouse, with three Peasants, one 
with a Goblet in his Hand. 
A Sketch of two Peasants and a Boy. 
The interior of a Dutch Cottage, a Man with a Pitcher, 
another Peasant with a woman and a Child. 
A Man leaning on a Table, and his Wife suckling a 
Child. 


Company regaling, a Woman pouring out Wine. 
Eight Peasants, two are playing Cards; very scarce. 


BEGARELLI, Antonio (called by Vasari, Brca- 
KINO). This artist is not introduced here as a 
painter, but rather as a designer and modeller, 
whose works may rank with those of contemporary 
painters, with whom he seems to have been in close 
connection. He was born at Modena, about the year 
1498, and is said to have been instructed by Gio- 
vanni dell’ Abbate, the father of the painter Niccolo. 
Begarelli worked chiefly at Modena, where many 
churches are decorated with his plastic compositions 
in terra-cotta ; and in his later years also at Parma. 
These are free standing figures, nearly life-size, 
grouped together above altars in the chapels, and 
apparently intended to replace pictures. This 
peculiar adaptation of plastic works was first used 
at Modena by Guido Mazzoni (died 1518), called 
Il Modanino, a highly-gifted artist of realistic 
tendencies. They form a specialty of Modenese 
art. The assertion that Begarelli was associated 
with Correggio seems to be incorrect. It has been 
supposed (by Vidriani, 1662), that Begarelli made 
the models from which Correggio painted many of 
his floating figures, and even instructed his friend 
in the art of modelling. Begarelli’s figures have 
a far closer resemblance to those of the Ferrarese 
painter Garofalo than to those of Correggio. They 
have the same types as the former used, and his 
draperies are similarly arranged. Whilst Maz- 
zoni’s terra-cotta figures are painted in variegated 
colours, Begarelli painted them entirely in white. 
Vasari relates that “ Michelangelo, when passing 
through Modena, saw many beautiful figures which 
the Modenese sculptor, Maestro Antonio Begarino, 
had made of terra-cotta, coloured to look like 
marble, which appeared to him to be most excel- 
lent productions; and, as that sculptor did not 
know how to work in marble, he said, ‘If this 
earth were to become marble, woe to the antiques.’ ” 
Begarelli died in 1565. Foon, 

BEGAS, Kari, a German painter of historical 
subjects, genre, and portraits, was born at Heinsberg, 
near Aix-la-Chapelle, in 1794. Whilst yet a boy he 
evinced a talent for painting, in which he received 
some instruction from Philippart, whilst pursuing 
the usual course of study at the University of 
Bonn. In 1812 he went to Paris, where he passed 
eight months in the atelier of Gros. The King of 
Prussia, when in Paris in 1814 and 1815, appre- 
ciated the talents of Begas, and made him an 
allowance, which enabled him to visit Italy to 
study the works of the great masters. In 1825 he 
went to Berlin, where he fixed his residence, and 
became a member and professor of the Academy 
of Arts. He died there in 1854. His principal 
paintings are: 

Job and his Friends. 1816. 

Christ on the Mount of Olives. 

Church at Berlin. 

The Descent of the Holy Ghost. 1820. In the Cathe- 

dral, Berlin. 

Tobias and the Angel. 1826 (engraved by Berger). 


The Resurrection. 1827 (engraved by Fischer). 

Tobias and the Angel. 1827. In the National Gallery, 
Berlin. 

Lorelei. 1835 (engraved by Mandel). 

The Sermon on the Mount. 1842. Jn the church of 
Landsberg. 

The Tested gueation, 

Christ carrying his Cross. 

Henry IV. at the Castle of Canossa. 

Young Girl under an Oak Tree. 


1818. In the Garrison 


107 


1a? 2 ee Se | 
TAde. + 


A BIOGRAPHICAL DICTIONARY OF 


PORTRAITS. 


Himself, zn the Wallraf Museum, Cologne. 
His Parents. 


Thorwaldsen, in the "Berlin Gallery. ‘ 


Queen of Bavaria. Meyerbeer. 
Cornelius. Schelling. 
Ritter. Buch, 
Schadow. Bauch. 
Humboldt. Radowitz. 


BEGAS, Oskar, painter, was born in Berlin, 
July 31, 1828. He was the son of Carl Begas, 
from whom he received his first teaching. In 1852 
he won a premium, which enabled him to travel to 
Italy. He worked in Rome for some time, and 
there painted a ‘ Descent from the Cross’ for the 
church of St. Michael at Berlin. He then visited 
France and England, and on his return to Berlin 
devoted himself to portrait painting and decoration. 
In 1866 he became Professor at the Berlin Academy. 
On settling down in Germany, he became Com- 
missioner for the Berlin Museum and Professor of 
his old Academy. His ‘Italian Peasants gossiping 


around a Fountain’ (1853) is in the Nat. Gallery,. 


Berlin, and in that city he died in November, 1883. 

BEGEIJN, ABRAHAM CORNELISZ, (or BEGA,) a 
native of Holland, born in 1650, painted landscapes 
and cattle, in the style of Berchem, and his pictures 
of those subjects are very justly admired. His 
pencil is light and free, and his colouring is very 
agreeable. His principal residence was at Berlin, 
where his works were highly esteemed, and, accord- 
ing to Houbraken, he was principal painter to the 
Elector of Brandenburg, afterwards King of Prus- 
sia. He also worked at the Hague. In several 
of the collections in Holland, the pictures of this 
master are placed among the most admired painters, 
and they are held in considerable estimation in this 
country. Many Continental galleries contain ex- 
amples of his art; there are three in the Copen- 
hagen Gallery; two in the Hermitage, St. Peters- 
burg; the Dresden Gallery and the Louvre have 
each a ‘Landscape with goats,’ and the Berlin 
Gallery an ‘Italian Landscape with cattle.’ Unfor- 
tunately for Begeijn’s reputation in England, his 
best works are here ascribed to Berchem, and are 
frequently altered to give a nearer approximation 
to that painter’s manner. Begeijn died suddenly 
with the palette in his hand in 1697, at Berlin. 
Various forms of spelling his name occur. 

BEGER, Lavrentius. According to Professor 
Christ, this artist was the nephew of Laurentius 
Beger, the celebrated German antiquary, who was 
librarian to Frederick William, Elector of Branden- 
burg. He engraved a set of twelve anatomical 
plates, taken from the designs in the book on 
Anatomy by Vesalius. He is also believed to 
have executed the greater part of the plates of 
antiquities, published by his uncle, entitled 7'he- 
saurus Brandenburgicus. He flourished towards 
the close of the 17th century. 

BEHAM, BarTHEL, (BEHAIM, or BEHEM,) a Ger- 
man painter, and very eminent engraver, born at 
Nuremberg in 1502. He was the younger brother 
of the celebrated Hans Sebald Beham, and, accord- 
ing to Sandrart, resided chiefly in Italy, whither 
he had been sent by Duke William of Bavaria, to 
whom he had gone on being expelled from Nurem- 
berg for his heretical opinions. He died in Italy, 
about 1540. The following are the pictures attri- 
buted to him by Rosenberg: 

Adoration of the Magi; an altar-piece with wings, 

painted with different subjects. 
108 


\ Be ec oie 
Christ on the Cross, with Mary and John, and the 
Magdalene kneeling. bs 2 Se ae 
The Virgin with the holy Child, standing on the Half- 
Moon, two angels crowning her; formerly an altar- 

- piece with wings, painted with different subjects. 


Virgin with the holy Child at her breast, and St. Anna 


with two wings, painted with saints. 


Four small pictures, formerly wings of an altar-piece, _ 


SS. Afra, Paul the hermit, Antony of Padua, and 
Jacobus the elder. 


[All these are at Donaueschingen, in the Royal Gallery.] 


Christ on the Mount of Olives. 

SS. Catharine, Paul, and Agnes, on a gold 
ground. 

8S. Crispin and Crispianus, also 
ground. . 

The Flagellation, with wings; painted with 
saints. J 

Christ bearing His cross. 

The Entombment. 

St. Bruno. 

St. Jerome in Cardinal’s habit. ; 

ay fe of the Duke of Bavaria and his 
wife. 

Portrait of Duke Otto Henry. —_’ 

Wings of an altar-piece; painted with 
whole-length figures of saints. 

SS. Christopher and Andrew 


Berlin. 


3? 


on a gold © 


” 


Carlsruhe. 


Nuremberg. 
Stuttgart. 


Cologne. 
Prague. 


Augsburg. 
Sigmaringen. 


Wurtsburg. 


Waagen mentions two more, the principal being 
a Trinity with Mary, Andrew, and angels, and at 
Schleissheim are the portraits of all the princes 
and princesses of the reigning family; fifteen in 
number. We believe some of these works men- 
tioned above are doubtful. . 

He is, however, more a designer in engraving 
than a painter, and may be considered as having 
been one of the most excellent draughtsmen and 
skilful engravers of the German school. Many 
of the plates by this master being without any 
designating mark, has led occasionally to some 
difficulty and mistake. The prints that bear his 
signature are marked BB. sometimes, and are dated 
from 1520 to 1533. The following list gives his 
engravings on the best authority, that of Herr 
Rosenberg already quoted: 


PORTRAITS. 


Louis, Duke of Bavaria. 

Bust of Erasmus Balderman. 1535. 
Bust of Leonard van Eck. 

The Emperor Charles V.; marked BB 
Ferdinand I.; same mark. 


VARIOUS SUBJECTS, 


1, Adam and Eve. Adam holds a flaming sword in 
his right hand, and takes the apple from Eve with 
his left. 

2, 3,4. Three small prints. 


5. Mary with the holy Child. A skull at the right. 
Galteys < = », atawindow A vase with 
flowers. 
(Pore oy s » & parrot in the Child’s 
hand, 
oR eS suckling the Child at an open window. This 
and some others of the above not certainly 
meant for the Madonna. 
9. Mary with the Child sitting on a rock. 
10. Head of Christ with the crown of thorns, 
11. St. Christopher. 


. St. Chrysostom’s penance: the Mother and Child 
in the background. 

. St. Severinus, with crosier. 

. Apollo and Daphne. 

. Hercules. 

. Anaked man, possibly Neptune. 

ae ey e with a sword. 

. Triumph car, of Mars and Venus (?), with other 
figures. 


_prints being generally small. 


Cupid partially clothed, riding on a dolphin. 
ats a globe, over a 
landscape. 


ae ” ” ”? 


; Flora. 
A Nereid riding on a Triton, towards the left. 


6499 . a » towards the right. 
Fight of water-gods. 
25. A Sibyl with book ; before her a child with a torch ; 
after Raphael. 
26. The Judgment of Paris. 
27. The Rape of Helen ; a compo. of thirteen figures. 
28. Lucretia. 
— 29, 30. Also Lucretia. 
. Cimon nourished by his daughter. 
32. Cleopatra with the snake at her breast. 


ez 


38. Fight of naked men; thirty-four figures; on a label 
“Titus Gracchus.” 
ae me » eighteen figures, 
an = 5 twenty-two figures. These 
three prints are in the form of frieses. They are 


the master-work of Barthel Beham, and may 

be considered the most excellent works in point 

of drawing of the early German school. 
ALLEGORIES, &C. 


36. A naked woman sitting on a shirt of mail. (Valour?) 

37. A sitting female figure ; inscribed, ‘ Cognitio Dei.’ 

38, 89, 40. A child sleeping, with one, three, and four 
death’s heads. ‘Mors Omnia Aquat’ on 

: the last. 

41, A naked woman sitting on the ground, looking at 

f a dead child. A naked man standing on the 

left; very curious. A long inscription from 
Eccles. 

42. Woman with hands and feet tied, with a child; 

inscribed ‘Der Welt Lauf, 

43, Death surprising a woman on a bed. 

Thirteen other allegoric miniatures, or of subjects taken 
from actual life, peasants or soldiers. Also thirty-one 
representing genii, ornaments, and heraldic matters. Al- 
together, with the portraits, ninety-two copper engravings. 
No woodcuts. W. B.S. 

BEHAM, Hans SEBALD, a distinguished German 
engraver, was born at Nuremberg in 1500. He 
was the eider brother of Barthel Beham, and is 
also classed by the collectors among what they 
denominate the Little Masters on account of their 
Hans Sebald Beham 
engraved on copper, drew on wood, and some few 
etchings have been attributed to him. He pos- 


sessed considerable genius, and a ready invention. 


His drawing of the figure is generally correct, and 
the airs of his heads and turn of his figures, 
though rather clumsy, have great style. His cop- 
per-plates are executed entirely with the graver, 
in a wonderfully neat and delicate manner; and 
his woodcuts are remarkably free and spirited. 
In the early part of his life, he lived at Nurem- 
berg, during which time he marked his plates with 
a cipher, composed of the three letters, H. S. P., 
and dated from 1519 to 1530. He was expelled 
for heresy, and afterwards resided at Frankfort, 
when he changed his mark to a cipher 

composed of H. S. B., and dated from 

1531 to 1549. He died in 1550, at Frank- 

fort. Examples of his works as a painter are very 
scarce. In the Louvre, Paris, there is a table with 
four scenes from the Life of David, and there are 
five miniatures by him in the prayer-book of the 
Cardinal Albrecht of Brandenburg, in the Library 
of Aschaffenburg. His works on copper are very 
numerous; the following list is as detailed as the 
necessary limit of this work will permit: 


PLATES WITHOUT THE CIPHER, 
Engraved at Nuremberg, and dated from 1510 to 1530. 


Adam and Eve in several designs; five small plates. 
* 1519. 


PAINTERS AND ENGRAVERS. 


St. Jerome, with a Cardinal’s Hat and the Lion. 1519. 

The Virgin suckling the Infant Jesus. 1520. 

The Virgin, with a Glory, standing, holding the Infant 
Jesus. 1520. Six of the Virgin in all. 

The Death of Dido; Regine Didonis imago. 1520. 

St. Anthony, Hermit, writing. 1521. 

St. Sebald seated between two trunks of trees, an 
ae in his right hand the model of a church. 
1521. 

Two Peasants playing on the flute and bagpipe ; very 


small. 

Two Peasants, Man and Woman, dancing. 1522; very 
small. 

A Triton carrying a Nereid on his shoulders. 1523; 
very small. 


A Woman sitting ona Lion. 1524. 

A Young Man and Woman embracing. 1526. 

The Death of Cleopatra. 1529. 

Combat of the Greeks and Trojans; very small, friese. 

Combat of Achilles and Hector ; same. 

Judith with the head of Holofernes; her maid beside 
her. 


PLATES WITH THE CIPHER. 
Engraved at Frankfort, and dated from 1581 to 1549. 


Adam and Eve, behind them a stag. 1536. 

Adam and Eve in Paradise, with the Serpent presenting 
the apple. 1543; very fine. 3 

The Emperor Trajan, with his army, listening to the 
complaint of a woman against his son. 1537. 

Melancholy ; inscribed Melencolia. 1539; in emulation 
of Albrecht Diirer. 

Patience ; inscribed Patientia ; on a tablet is written, 
Sebaldus Beham Noricus faciebat. 1540. 

Fortuna ; a woman holding a palm and a wheel. 1541. 

Infortunium; a woman stopped by an evil genius 
with a lobster. 1541. 

A Young Woman, with a buffoon, presenting fruit ; an 
etching. 1540. 

Four very small plates of the Four Evangelists, with 
wings. 1541. 

Twelve small plates of the Labours of Hercules; in- 
scribed Hrumne Herculis ; dated from 1542 to 1548. 

An Ensign and a Drummer. 1544. 

aoe Roman Charity, with a German inscription. 1544; 

é. 

The Arms of Beham. 1544. 

Bust of Domitia Calvilla, with the Emperor Trajan ; 
after Antique Medals. 1546. 

The Twelve Months of the Year, each represented by a 
Man and Woman dancing ; two Months on one plate ; 
six small plates. 1545. Added to these are four 
Village Merry-makings, and many peasant subjects; 
very small. 

The twelve Apostles. Very small set of twelve. 

Days of the week with their planets. Eight pieces. 

The Liberal Arts. Set of seven allegorical figures. 

Two couples making love and a buffoon. Very small, 
little more than two inches long. This is said by 
Bartsch, No. 212, to be one of his most beautiful 
miniature engravings. The two shields of arms, one 
with a cock, the other an eagle, are also among his 
finest in execution. 

The Judgment of Paris; Judicium Paridts. 1546; fine. 

Death walking with a lady ; inscribed Omnem in homine, 
Gc. 1547; fine. 

A Man trying to pull up a tree; inscribed Jmpossilile, 
1549. 

The Virgin holding the Infant Jesus in her arms, with 
a parrot and an apple; S. Maria. 1549. This anda 
good many others he copied from his brother Barthel, 
the sale for whose works must have been enormous. 


WOODCUTS, 


Which are sometmes marked with the one and sometimes 
with the other of his two ciphers. These are of all sizes, 
from two inches to four feet long, four or more sheets 
being put together. 


Public controversy between Luther and a Roman theo- 
logian: many people listening. 

The Fountain of Youth; a superb composition of great 
length; one of his finest inventions. 

The Cavalier and nine wives. 


109 


A BIOGRAPHICAL DICTIONARY OF 


The Bath: many women and children bathing (round), 

Military féte in honour of Charles V. at Munich. Very 
large. 

The Patriarchs with their wives and children ; ten prints. 

Fourteen Cesars, busts, on three sheets. 

An immense series of the costumes of monks. 

A Village Fair, with asteeple and a clock ; large friese ; 
very scarce. 

A March of Soldiers ; large friese, in four sheets ; very 
scarce. 

Another, same size ; full of figures. 

Biblicee Historise—Comprising three hundred and forty- 
eight prints, of which the greater part have figures 
on both sides. 


For a full account of his works see Bartsch, tom. 
vi. Also Adolf Rosenberg. Sebald and Barthel 
Beham, Leipsic, 1875. W. B.S. 


BEICH, JoacHim Franz, was born at Ravens- 
burg, Wurtemberg, in 1666. He was the son of 
Wilhelm Beich, a painter of little celebrity, 
from whom he received his instruction in the art. 
He excelled in painting landscapes and battles. 
His best works are in the palaces of the Elector of 
Bavaria, in whose employment he was for several 
years; among these are several large pictures of 
the battles fought in Hungary by the Elector 
Maximilian Emmanuel. With the permission of 
his patron, he visited Italy, and made many draw- 
ings from the beautiful views in that country. 
His landscapes exhibit very pleasing scenery, and 
he appears to have imitated, in the arrangement of 
his pictures, the tasteful style of Gaspar Poussin. 
He died at Munich, in 1748, The Vienna Gallery 
has two landscapes by him, and the Munich Gallery 
has four, The latter gallery also possesses his 
portrait by Des Marées—“ painted in 1744, when 
he was 78 years old.” As an engraver, he has 
contributed several charming etchings to. the port- 
folios of collectors, We have by him four sets of 
landscapes, with figures and buildings (amounting 
together to twenty-six plates), etched with great 
spirit and facility. 

BEIJER, J. pz. See De Brier. 

BEIJEREN, Apranam VAN, a painter of still-life, 
flourished at the Hague from about 1650 to 1670. 
His favourite subjects are fish, but he also adorns 
his pictures with flowers and fruit, and gold and 
silver vessels. The Galleries of Berlin, Dresden, 
the Hague, Rotterdam, and Amsterdam have each 
a work of this nature, each signed A. V. B. He is 
by some called Albert van Beijeren; but this is 
asserted by Kramm to be an error. 

BEIN, Jean, a French engraver, born at Stras- 
burg in 1789, was a pupil of David and of Reg- 
nault, and entered the Ecole des Beaux-Arts in 
1812. He engraved the Niccolini Madonna after 
Raphael, the original of which is in the collection 
of Earl Cowper at Panshanger, ‘The Marriage of 
the Virgin,’ after Vanloo, for the Musée Royal, 
and plates for the Coronation of Charles X., and 
Gavard’s Galeries de Versailles. Bein died in Paris 
in 1857. 

BEINASCHI. See Brnascut. 

BEISSON, Francois JosrpH ETIENNE, a French 
engraver, born at Aix, was a scholar of Wille. He 
engraved several subjects after the Italian masters 
for the Galerie du Musée, and ‘Susannah at the 
Bath,’ after Santerre. He died in Paris in 1820. 

BEITLER, Marruias. See Bryruer. 

BELBRULE, T., a French engraver on wood, 
flourished about the year 1580. Papillon mentions 
some cuts of ornamental flowers very delicately 
executed by him, 

110 


BELIN vE FONTENAY, Jean Baptiste (mis- 
called BuaIn de Fonrrnay), a French artist, born 
at Caen in 1654, was the son of a painternamed — 
Louis Belin, and a pupil of Monnoyer, betterknown ~ 


‘as Baptiste, whose daughter he married in 1687, in 


which year he was received into the Academy. 
He painted flowers and fruit in the manner of his _ 
master. He had a delicate pencil and a good eye — 
for colour; he painted insects with great exact- 
ness, and finished all his pictures carefully. He 
was employed by Louis XI1V.—who gave him lodg- 
ings in the Louvre and a pension of 400 livres— — 
at Fontainebleau, Versailles, and at the Gobelins. 
Belin de Fontenay died in Paris in 1715. Two ~ 
flower-pieces by him are in the Louvre. His son, — 
JEAN BAPTISTE BELIN DE FONTENAY, who was born ~ 
in Paris in 1688, and died there in 1730, also ~ 
painted flowers with much success. 4 
BELJAMBE, PIERRE GUILLAUME ALEXANDRE, & — 
French engraver, was born at Rouen in 1759, and 
died about 1820. He engraved some plates of — 
fancy subjects, from the contemporary painters — 
of his country, and a few prints for the collection — 
of the Palais Royal; among others the following: — 
Portrait of Pilatre de Rosier. a 
Portrait of Jean Sylvain Bailly, Mayor of Paris; after — 
C. Monet. . =. 
Cupid reposing on the breast of Psyche; after J. B. — 
Regnault, . 

La petite Jeannette; after J. B. Greuze. q 
The Circumcision ; after Gio. Bellini ; for the Orleans — 
Collection. : 
The Adoration of the Magi; after Carlo Cagliari ; for — 
the same. 
The Holy Family ; after Michelangelo; for the same. 
BELKAMP, JAN VAN, a Dutch artist, who passed — 
the greater part of his artistic life in England, ~ 


where he was much employed in copying the pic- ~ 


tures in the Royal Collection, and died in 1653. — 
Some are still in the Royal Collection; and at — 
Drayton there were formerly portraits of Henry — 
VII. and Henry VIII., copied from a large picture — 
by Holbein, which was burnt at Whitehall. Y 

BELL, Lady, the sister of William Hamilton, — 
R.A., received instruction from her brother and ~ 
from Sir Joshua Reynolds. She delighted in copy- — 
ing the pictures of the latter, and was happy in her ~ 
transcripts. She also copied pictures by Rubensin ~ 
Carlton House, among which was a ‘ Holy Family’ — 
which was much praised. She married Sir Thomas — 
Bell, Sheriff of London, whose portrait she painted, — 
and died in 1825. 

BELL, Rosperr CHARLES, an engraver, was — 
born at Edinburgh in 1806. He was a pupil of © 
John Bengho, and at the same time attended the — 
classes at the Trustees’ Academy, Edinburgh, then — 
under Sir William Allan, R.A., P.R.S.A. Among — 
several pictures for the Royal Scottish Association, — 


he engraved ‘The Widow,’ after Sir W. Allan, and ~ 


‘The Expected Penny,’ after A. Fraser; he also — 
executed a number of engravings after Mulready, ~ 
Wilkie, Leslie, Faed, and other well-known artists, — 
for the ‘Art Journal.’ His last work was a large — 
plate after Sir W. Allan’s picture, ‘The Battle of — 
Preston Pans,’ which he completed only a short — 
time before his death. In his earlier days he 
executed a considerable number of vignette por- — 


traits, of which those of Professor Wilson and Dr. 


L. Brunton were among the best. He died in his 
native city in 1872. a 

BELL, Witu1am, who was born at Newcastle- — 
upon-Tyne, about 1740, came to London about the — 
year 1768, and was among the first who entered 


i aan 
as students in the Royal Academy. In 1771 he 
_ obtained the gold medal for a picture representing 
_ ‘Venus soliciting Vulcan to forge arms for Aineas,’ 
~He was much patronized by Lord Delaval, for 
_ whom he painted two ‘ Views of Seaton Delaval,’ 
and several portraits of the family. He died at 
Newcastle about 1804. z: 
_ ‘BELLA, Srerano petta. See DELLA BELLA. 
- BELLANGE, Evcétne, French _ historical 
ainter; born at Rouen in 1835 ; son of Hippolyte 
Ralanc!, whose reputation was at its zenith from 
1830 to 1860 as a military painter. After study 
with Picot he followed the style of art in which 
his father had become famous, and among his 
early pictures were ‘ La Garde & Magenta’ (1861), 
‘Solferino’ (1863), ‘Palestro’ (1863). The 
Franco-German War of 1870 furnished him with 
more than one fine subject for his brush, but 
some years afterwards his works were shown less 
frequently on the walls of the Salon, and his 
weird series of studies of the heads of dead people 
created quite a sensation at the Champs de Mars. 
He died jn the April of 1895. adi 
BELLANGE, Jacques, a French painter and 
_engraver, was born at Nancy, in 1594. He first 
studied under Claude Henriet, and afterwards went 
to Paris, where he became a scholar of Simon 
Vouet. He painted, amongst other works, a ‘ Con- 
-ception’ for Notre-Dame at Nancy, where he died 
in 1638. As an engraver, he has certainly been 
treated with unmerited severity by Basan, who 
says “that he was a bad painter, and a worse en- 
_grayer.” Although he cannot be classed among the 
ablest artists of his country, yet his plates, though 
executed in rather a singular style, possess con- 
siderable merit, particularly for their general effect. 
His point is free and masterly, and he arranged 
his masses of light and shadow with more than 
usual intelligence. His drawing is not very correct, 
and there is an appearance of affectation in the 
turn of his figures, which is not unfrequently dis- 
_cernible in the works of his countrymen. The 
following are his principal plates: 
The Annunciation. 
_ The Holy Family, with St. Catharine and St. John. 
‘The Adoration of the Magi. 
The Resurrection of Lazarus. 
Christ bearing his Cross. 
The dead Saviour lying on the knees of the Virgin Mary. 
The Three Marys going to the sepulchre. 
The Magdalene, half-length. 
St. John the Baptist in the wilderness. 
_ The Martyrdom of St. Lucia. 
_ The Death of Virginia. 
Adonis carrying Diana on his Shoulders. 


- BELLANGH, Joszrn Louis Hippouyts, a French 
battle painter, was born in Paris in 1800. His 
art was influenced by the wars of the first Napo- 
leon, and while a youth, he produced several mili- 
tary drawings in lithography. He afterwards 
‘pursued his systematic studies under Gros, and 
with the exception of some portraits, devoted 
himself exclusively to battle-pieces. In 1824, he 
received a second class medal for an historical 
picture, and in 1834 the decoration of the Legion 
of Honour, of which Order he was made an officer 
in 1861. He also gained a prize at the Paris 
Universal Exhibition of 1855. He died in Paris 
in 1866. Amongst his works are: 

The Entry of the French into Mons. 

The Day after the Battle of Jemappes. 

The Passage of the Mincio. 

The Battle of Fleurus (at Versaziles). 


Be ) PAINTERS AND ENGRAVERS. 


A Duel in the Time of Richelieu. 

The Battle of Wagram (at Versailles). 

The Taking of Teniah de Muzaia (in Salon of 1841, and 

now at Versailles). 

Taking Russian Ambuscades (1857). 

Episode of the Taking of the Malakoff (1859). 

The Two Friends—Sebastopol, 1855 (exhibited in Salon 

of 1861, at London in 1862, and at Paris in 1867). 

The Soldier’s Farewell (in Leipsic Museum). 

The Soldier’s Return (in Leipsic Museum). 

The Return of Napoleon from Elba (in Salon of 1864, 

and Paris Exhibition, 1867). 
The Cuirassiers at Waterloo (in Salon of 1865, and Paris 
Exhibition, 1867). 

The Guard dies (im Salon of 1866, and Paris Exhibition, 

1867—his last work). 

BELLANGER, J. A. Basan mentions this ama- 
teur engraver as having etched some plates from 
his own designs with considerable taste, intelli- 
gence, and correctness, and a few plates after 
Raphael, among which are the ‘ Miracle of the 
Loaves and Fishes,’ and the ‘School of Athens.’ 

BELLAVIA, Marc AnToniI0, was a painter and 
engraver. About 1600, he executed several plates 
after the manner of Annibale Carracci, which have 
been attributed to that artist. The most important 
are: 

The Adoration of the Magi. 

A Rest in Egypt. 

Romulus and Remus, 

BELLE, ALExis Simon, a French portrait painter, 
was born in Paris in 1674, and was a pupil of 
Francois de Troy. He died in Paris in 1734. 

BELLE, CLiment Louis Marie ANNE, a French 
historical painter, and son of Alexis Simon Belle, 
was born in Paris in 1722. He studied under 
Marie Nicole Hortemels, his step-mother, and Fran- 
cois Lemoine, and in 1761 was received into the 
Academy, of which he became professor in 1765 
and rector in 1790. He was likewise inspector at 
the tapestry manufactory of the Gobelins, where 
he died in 1806. 

BELLE, La. See La BELLE. 

BELLECHOSE, Hewat, ‘de Brabant,’ is recorded 
to have been ‘ painter and valet,’ to Jean ‘ sans peur,’ 
in 1415, and in the same year he was employed by 
the Chartreuse of Dijon to paint two pictures—the 
‘Life of St. Denis,’ and the ‘ Death of the Virgin.’ 

BELLEGAMBE, JEnay, is a painter who has 
remained, until recently, in obscurity. What we 
now know concerning him is due to the research 
of M. Wauters, Dr. Escallier, and others. Belle- 
gambe was born, apparently at Douai, about the 
year 1470. He studied art, it is supposed, under 
one Jean Gossuin. He is recorded to have resided 
in Douai from the year 1504 to 1531, and further- 
more to have executed works for the churches 
of St. Amé and of the Dominicans, as well .as for 
the town. The only authentic work by him is a 
polyptych in the church of Notre Dame at Douai. 
It was formerly in the abbey church of Anchin, 
and subsequently came, in parts, into the possession 
of Dr. Escallier, who presented it, as a whole, to 
the church of Notre Dame. This work, which is 
a very interesting example of Flemish art of that 
period, was formerly ascribed to Memling. It 
represents the Trinity, the Virgin, St. John the 
Baptist, and numerous saints; and on the exterior, 
the abbot, the prior, and several monks, together 
with SS. Charlemagne and Benedict. Bellegambe 
is mentioned by Vasari in a list of important 
painters of the Low Countries, 

BELLERMANN, FerpinanpD, a native of Erfurt, 
and pupil of Bleechen and Schirmer. He was 

it 


pT, 
= 


A BIOGRAPHICAL DICTIONARY OF 


sent by King William Frederick IV. to South 
America in 1842, whence he brought back some 
three hundred sketches, now in the National 
Gallery at Berlin. He was appointed Professor 
of the Academy there in 1866, and made a second 
tour through Italy eleven years later ; dying in 
1889, aged 75. 

BELLERS, Wiiiam, an English landscape 
painter, was a frequent contributor of ‘Sunsets,’ 
&c., to the exhibitions at the Society of Arts; and 
in 1774 published with Boydell a series of views 
of the ‘Cumberland Lakes.’ Some of his land- 
scapes were etched by Canot and other erence 
engravers... 

BELLEVOIS, HT , (or Prison) was a. painter of 
marine subjects, seaports, and storms: at sea.’ It 
is not mentioned by whom he was*instructed, but 
his style of ‘painting indicates that W. van de 
Velde and Backhuisen were: his models. He re- 
sided at Hamburg, where he died-in 1684. +» » j 

BELLI, Jacques. See BELLY. ©.) .) 5s 4) 

BELLI, Mazco, a follower of the Bellini, lived: 
in the early part of the 16th century: of his life 
or death nothing certain is known, excepting that: 
he is the painter of a ‘ Circnmdision: in the Rove 
Gallery. 

BELLIER, JEAN FRANOOIS “Manre, portrait 
painter. to Marie Antoinette,-Queen of France, was 
born in Paris in 1745. He- painted the panels of | 
the carriage for the coronation of Louis XVI:, and 
worked with Barthélemy upon the ceilings of the | 
Louvre. He died in Paris in 1836. 

BELLIN, SamvEt, was born in 1799, at Doctors 
Commons, in the City. of London. He..was the 
son of John Bellin of Chigwell in Essex,.and. was 
articled to Basire the engraver ;’ after serving. his 
time with this master he went to Ronie, where. he 
studied and painted for some years, in company. 
with Thorwaldsen, Turner, Bartlett, Geddes, and 
other artists. Returning to England in 1831. he 
commenced line engraving; later, however,’ he | 
adopted mixed mezzotint, executing many plates | 
from pictures by Frank Stone, Herbert, William 
Hunt, Eastlake, Horsley, Marshall Claxton, Courbald 
and others. Bellin was also successful with copies 
of many portraits of eminent persons * ‘living: in 
the earlier part of the 19th century. He retired 
from’ the profession in 1889,.and died in 1893. 
The sale of Samuel: Bellin’s prints and plates took 
place at. Christie’s,°on March 30, 1894. B.S. 

BELLINI, BELLINI. See BELLINIANO. 

BELLINI, FILIPPo, ‘was a native of Urbino, 
and flourished: about the year 1594. “Almost un- 
noticed in the history of art; he is stated by Lanzi 
to have possessed uncommon capacity.:.. He was a 
follower of the style of Federigo Baroccio, and one 
of the most successful of his imitators, as appears 
in his picture of the ‘Circumcision,’ inthe Basilica 
of Loretto, and in the ‘ Marriage of the» Virgin,’ in 
the cathedral at Ancona, Amongst his most im- 
portant works are fourteen pictures of the works 
of ‘ Charity,’ in the Chiesa della Carita at Fabriano, 


‘and the ‘Martyrdom of, St. Gaudenzio,’, in: the 
' Conventuali-di M. Alboddo. 


BELLINI, GEnrIzz, was the son of Jacopo (q.v.). 
He was probably born in 1429, in Venice. He 
learned under his father, and, together with his 
brother, is mentioned as assisting him in various 
undertakings. By the year 1464 (according to 
Crowe and Cavalcaselle, History of Painting in 
North Italy, where authority for the date is, how- 
ever, undiscoverable) he received, as an independent 

112 


master, the commission to paint the doors of theal 


organ of St. Mark’s. 
have become deeply imbued with the ideas of 


These panels show him to — 


design adopted in the Paduan school, though there ~ 


are still evidences of the early Venetian style. To 


the year 1465 belongs another public undertaking, — a 


that of the figure of the Patriarch Lorenzo Giust- 


iniani now inthe Academy. ‘Lhis shows the severe 4 


and scholarly feeling for draughtsmanship which ~ 
marks all Gentile’s works In 1466 he was employedaa 
in large decorative designs illustrating the story 
of the Children of Israel for the “ school’’ of St. 


Mark’s,:and already received. payment at the same — 3 
By 1469 his reputation was F 


‘rate as his father. . 
‘such that he.ré¢eived the title of ( lount of the — 
Palatinate from the Emperor, and)in 1474 we find 
him« evidently ° regarded as. the greatest artist in- 
Venice, for in that yearzhe was appointed to ere 
or rather. repaint, the-decorations of the Sala del 
Gran Consiglio <in: the. Ducal. Palace, and was 


q 


a 


rewarded with .a-sinecure. in the -Fondaco dei 


‘Tedeschi. . In 1479.,we-have a. ‘still.further proof — 


of his pre-eminent position, for in that year he was — q 


sent, at the expense of the State, to Constantinople, — 


in accordance with the-request made.to the senate 
by the Sultan, Mehemet ‘IL, ‘for! the best painter in 
Venice. During his stay “a the East he made — 


: 


drawings of the classical remains of. Byzantium, — 


and brought home a number of sketches of Eastern 
‘types’ which became stock motives with later 
Venetian painters. 
painted of »the Sultan, he brought back one, which 


is Nowlin. Lady Layard’s collection. It is dated 
1480, ‘and is signed by him with the,addition of — 


‘Knight, a title conferred on him’ by the Sultan. 


Gentile continued his father’s connection with the — 
“school” of St. Mark’s, rising in 1492 to the — 
position of guardian.of the» school. .Of his few — 


remaining works the most important,were executed 
to decorate the walls of the schools of St. John the 
‘Evangelist and St. Mark. For. the- former he 
finished in 1494 the much-damaged. picture of 


Pietro di Lodovico being. cured, by the relic of the 
In 1496 he completed the great picture — 


Cross. 


Of the portraits which he q 


a: 
e 
ry 


representing the procession of, that. relic in the 


Piazza of St. Mark’s; and. in 1500 he executed for 
the same body the painting © ‘of the miraculous 


preservation of the relic on’an occasion when the 


aM 


reliquary had fallen into a canal from a bridge | 


‘over which it was being carried in procession. 
These-pictures. are. all in. the Academy at Venice. 
His last great undertaking for the school of St. 
Mark’s was the canvas representing the preaching 
of St.. Mark ‘at ™ Alexandria,* now in the Brera, | 


y 
g 


which, at his death’in 1507, he left to be completed 


by his’ brother. Gentile’s. "fame as a painter has 


P 


perhaps’ been somewhat, eclipsed by that of his — 
brother, but it is evident that. in their, lifetime he © 


took the chief position in Venice. 


He was a 


profound student of perspective, and. applied its 4 


rules with great success tothe composition of his — 
great historical scenes. 
was the series representing the story of the struggle — 
with Barbarossa, which decorated the Ducal Palace. 


The most famous of these q 


These all perished in the fire of 1577. Besides the 


works already mentioned there remain several — 
smaller pieces by him; a portrait of Catherine — 
Cornaro at Buda Pesth, a bust of St. Mark at 
Frankfort (early), a large Madonna Enthroned in 
Mr. Mond’s collection, St. Peter Martyr, the portrait 


q 


of a Mathematician and the head of a monk in the 4 
National Gallery; portrait of Doge Giovanni — 


al pyr) Ay burywrord 2) cee 8 ; 


eT 


< 


LAI DRUG IT OP IPe . IY A ‘DADUY) } g 


* 


‘ eo { % 7 
-Mocenigo in the Correr Gallery at Venice, while 
Lady Layard besides the portrait of Mohamet II. 


: possesses an Adoration of the Magi in a style of 
_ composition recalling Jacopo’s drawings, but with 
_Hastern costumes showing that it was executed 


after his return from Constantinople. The qualities 


of Gentile’s art which won him the unqualified 
admiration of his contemporaries consist in the 


subtle perfection of his composition, which, ap- 
ee and naturalistic, is really controlled 
by a delicate sense of balance and proportion, and 
he exquisite harmony of his tones, while as a 


De tigbisman he possessed a finer feeling for line 
than any other Venetian of the 15th century. 
z 


EF, 


ae 
a BELLINI, Cavaliere Gracinro, born at Bologna, 
in the early part of the 17th century, was a scholar 


of Francesco Albani. On leaving the school of 
that master, he was taken under the protection 


of the Count Odoardo Pepoli, by whom he was 


sent to Rome with Francesco Carracci, for the 


advantage of study. He was not long at Rome 
_ before he discovered an ability that recommended 


him to the patronage of Cardinal Tonti, who was 


so satisfied with his performances, that he pro- 
_ eured him the knighthood of the order of Loretto. 


esteemed master. 


He painted in the manner of Albani, and his pic- 
tures possess much of the graceful style of that 
; He was living in 1660. 
BELLINI, Giovanni, was the son of Jacopo 
Bellini (q.v.). Of the date of his birth there is no 
certain evidence ; Vasari describes him as older 
than his brother Gentile, but other authorities of 
the same period make him younger. Undoubt- 
edly Gentile was regarded as the head of the 
family, and it is usual to assume, though the point 
must stili be considered doubtful, that Giovanni 
was born a few years later, in the early thirties of 
the fifteenth century. He was brought up with 
his brother in his father’s workshop and assisted 
him in his various undertakings, but, like Gentile, 
though to an even greater extent, he entered with 
enthusiasm into the new ideas of the Paduan 
school. Indeed, until 1460, when Mantegna left for 
‘Mantua, he kept close company with that artist, 
‘advancing with him pari passu. The works of this 
eriod, ‘ Crucifixion,’ ‘Transfiguration’ and ‘ Pieta,’ 
in the Correr Gallery, Venice; ‘Blood of the Re- 
deemer’ and ‘Agonyin the Garden,’ National Gal- 
lery, are executed in a manner which shows the in- 
fluence of Mantegna and the study of Donatello’s 
works at Padua, though the composition and group- 
ing is derived from his father’s style. After 1460 
he began rapidly te divest himself of the rigid 
severity of the Paduan manner and to form his 
own essentially Venetian style. The earliest notice 
we have of him in Venice is of the year 1459, when 
he appears asa witness to a deed. That he devoted 
himself rather to small devotional pictures than to 
the great decorative designs which were the spe- 
ciality of the Bellini family, accounts for the fact 


_ that, while we have far more of his works than of 


Jacopo’s or Gentile’s, his name occurs but rarely 
in contemporary documents. However, in 1470, 
he was engaged to paint a large design of the 


_ Deluge for the ‘‘ school” of St. Mark’s, where his 
_ brother had already been employed for some years. 
_ Towards the close of the seventies he must have 
| journeyed to Pesaro, the home of his mother 
‘Anna, where he painted the great altar-piece of 


€The Coronation of the Virgin’ in the church of 


 §t. Francesco. ‘The Transfiguration,’ at Naples, 


I 


ee PAINTERS AND ENGRAVERS, 


was, we may suppose, another result of the same 
journey, since it contains a view of some of the 
notable buildings in Ravenna, which he would pass 
on his way to Pesaro. In 1479 he was back in 
Venice, and on his brother’s departure for Con- 
stantinople, Giovanni was appointed to take his 
place in the redecoration of the Ducal Palace, a 
post which he was to relinquish on Gentile’s return, 
though the sinecure with which he was rewarded 
was to continue for life. The altar-piece at Pesaro 
marks a new departure in Bellini’s career: hitherto 
the great altar-pieces had been the speciality of 
the rival Muranese school, but from this time on 
Giovanni Bellini was continually employed in 
works of this kind. The first in Venice was pro- 
bably ‘The Madonna and Saints’ for St. Giovanni 
e Paolo, which was destroyed by fire in 1867. So 
far as we can judge from reproductions, the effect 
of this lost masterpiece on the treatment of such 
motives in later Venetian art was momentous. To 
the eighties belong a large number of Bellini’s 
works, the Frari Triptych, dated 1488, but probably 
begun rather earlier, Madonnas of the National 
Gallery and the Morelli Gallery at Bergamo; the 
Madonna between St. Catherine and Mary Mag- 
dalen, Academy, Venice. Then follows the cele- 
brated ‘Madonna and Saints,’ painted for St. Giobbe, 
c. 1486, now in the Academy at Venice. To 1487 
belong the dated ‘Madonna and Child’ and the 
‘Madonna between SS. George and Paul,’ both in the 
Academy; while 1488 is the date of the ‘ Madonna 
and Doge Barbarigo’ at Murano. It is difficult to 
assign with certainty any picture to the nineties, 
and we may assume that the artist’s time was 
occupied in large decorative schemes in the Ducal 
Palace and at the school at St. Mark’s. Never- 
theless the small ‘ Allegory’ in the Uffizi and the 
series of allegories in the Venice Academy may be 
assigned to this period. Between 1501 and 1504 
he was engaged in painting for Isabella d’Este a 
small panel, now lost, representing ‘The Adoration 
of the Child by the Virgin and various Saints,’, 
Isabella had tried in vain to get Bellini to illus- 
trate a subject from pagan mythology, a motive 
which Bellini declared to be too alien to his nature. 
To the year 1501 Agletti ascribes, though without 
adding authority, the great altar-piece represent- 
ing the Baptism in Sta. Corona at Vicenza, In- 
ternal evidence would lead us to place it nearly ten 
years later. In 1505 Bellini completed the great 
altar-piece in Sta. Zaccharia, in which he rivalled 
the new style which his own pupil Giorgione 
was already developing. In 1507 he finished his 
brother’s picture of ‘St. Mark at Alexandria.’ To 
1510 belongs the ‘Madonna and Child’ in the 
Brera, while in 1513 he executed his last indis- 
putable work, the altar-piece in St. Giovanni Chry- 
sostomo in Venice. In 1514 he received payment 
from the Duke of Ferrara for the ‘ Bacchanals,’ 
now at Alnwick Castle ; but though the invention 
may be his, the execution is certainly due to one 
of his pupils, probably Basaiti. The work was 
finally completed by Titian. He died in 1516. 
In the last twenty years of his life Bellini was 
surrounded by a number of pupils and imitators, of 
whom Basaiti and Catena were the most important. 
His greatest pupil Giorgione had already, by 
the beginning of the 16th century, taken an inde- 
pendent line, and the new ideas which he and 
Titian formulated were resisted by Bellini’s less 
independent pupils, who enjoyed the official recog- 
nition of the State until ousted by the ee 


se ey aa) REY ne Ok eae re 


A BIOGRAPHICAL DICTI 


genius of Titian. Bellini’s many remaining works 
enable us to trace very clearly his remarkably 
equable and steady growth through all the phases 
of 15th-century art. Up till 1460 he cultivated 
with Mantegna a rigid and searching delineation of 
form. After 1460 his style becomes increasingly 
suave, and the intense pathos of his first manner 
gives place to a calmer and more gracious senti- 
ment. By the end of the eighties this growth 
culminates in the first germs of a new style in 
which atmospheric envelopment and rich harmonies 
of colour become the chiefaims. In a sense, there- 
fore, Bellini himself discovered the style of the 
early 16th century, which was carried to per- 
fection by Giorgione. Besides the works men- 
tioned above, we may note the following : 


Bergamo.  Lochis Gallery. Madonna. 
a Morelli Gallery. Two Madonnas. 
Berlin Dead Christ. 
Brera. Madonna and Pieta. 
London, Mr. Mond. Dead Christ. 
a ry Madonna. 
aa Nat. Gall. Madonna. 
a a Portrait of Doge Loredano. 
Milan. Signor Crispi. Madonna. 
- Signor Frizzoni. Madonna. 
Newport, U.S.A. Mr. Davis. Madonna, 
Pesaro. God the Father (from a lost 
altar-piece). 
Rimini. Pieta. 
Venice. Ducal Palace. Pieta (repainted §& modified). 
oe Sta. Maria del Orto. Madonna. 
ye Academy. Madonna (similar to the one 
at Turin). 
*s = Madonna with Choir of 
j Angels. 
- St. Francesco della { Madonna and Four Saints. 
Vigna.§ 1507. 
Turin. Madonna. R. E. F. 


BELLINI, Jacopo, was the son of Nicolo Bellini, 
a tinsmith living in Venice. Of the date of his 
birth we have no certain evidence, but from the 
fact that he became assistant to Gentile da 
Fabriano we may place it with probability in the 
early years of the 15th century. After he had 
acquired the rudiments of his art, probably under 
native Venetian artists, he became an enthusiastic 
follower of the new principles introduced by 
Pisanello and Gentile da Fabriano when these 
artists were invited to Venice to decorate the Ducal 
Palace. He followed Gentile to Florence, where in 
1423 he got into trouble for defending his master’s 
workshop against one Bernardo di ser Silvestri, 
whose attack was probably instigated by the 
jealousy of the native Florentine artists. To avoid 
complications he left Florence for a year, but on 
his return found that judgment had gone against 
him by default. He, however, compounded for the 
fine with his adversary, and after a public penance 
performed in 1425 he was quit. He seems to have 
returned to Venice, where, in 1429, we find him 
settled in the Confinio di S. Geminiano. In that 
year his wife Anna being with child made her will. 
From this it would appear that it was her first 
child, who was presently born, and whom we may 
identify with Gentile, named after his godfather 
Gentile da Fabriano. In 1436 Jacopo completed 
a fresco of the crucifixion in the chapel of St. 
Niccold in the cathedral at Verona. This great 
work, which appears to have exercised a wide 
influence on the course of Venetian art, was 
destroyed in the 18th century, and is only ac- 
cessible through an engraving by Paolo Calliari. 
In the dated inscription he declared himself a 

114 


Jacopo’s work the Venetian tendency to treat 


\ 
er ee ee 


i .7 é ets 


ONARY- 0850) 2) eee 
pupil of Gentile da Fabriano, In 1437 h : 
the “School” or Mutual Benefit Society of St. 
John the Evangelist, for which he executed many 
important works, including a life of the Virgin 
and Christ; some of the subjects illustrated in 


this series are interesting as showing already in 


historical scenes in a genre spirit—thus the third 
picture of the series is described as ‘the Virgin as” 
a girl preparing sacerdotal vestments.’ There can 
be no doubt that these large decorative paintings, 
every one of which has perished, were painted upon 
canvas in the usual Venetian manner, and not in 
fresco as was customary on the mainland. About 
1440, as we learn from a sonnet by an otherwise 
unknown poet, Ulysses, he was on a visit at Ferrara, — 
where he painted in competition with Pisanello a 
portrait of the young Lionel d’Este. In this con- 
test, according to the verdict of Niccolo d’Este, 
Jacopo carried the palm. In _ 1452 we find him 
working for the “ schoo] ” of St. Mary of Charity, — 
and in the following year his own “ school” gave - 
him a subvention for the dowry of his daughter 
Nicholosia on her marriage with Andrea Mantegna. 
The entries cited hitherto show that the Bellini 
family were settled in Venice, and not as has been 
supposed at Padua. Nevertheless we must con-— 
clude that they kept up a close intercourse with the — 
Paduan school. Squarcione, the Paduan master, © 
certainly undertook commissions in Venice, while — 
conversely we have records of an altar-piece 
finished in 1459 by Jacopo aided by his two sons, 
which was set up in the chapel of the Sacrament 
in the Santo at Padua. In 1466 he undertook 
another series of decorative painting, this time for 
the school of St. Mark’s. The last record of a 
commission is dated 1470, and it was cancelled, 
owing probably to his death shortly after that date. | 

Considering the high reputation Jacopo Bellini 
enjoyed and the amount of his work of which we 
have documentary evidence, it is surprising and | 
disappointing to find how little has survived. A | 
damaged and repainted Madonna and Child in the | 
Academy at Venice, a similar composition in the 
Tadini collection at Lovere, and a Crucifixion in | 
the Gallery at Verona are the only indubitable 
works. An Annunciation at St. Alessandro in 
Brescia and another in private hands in England, 
together with a small panel of Christ in Limbo in 
the Gallery at Padua, are probably due to his hand. 
We are, however, able to study his genius more | 
fully in two sketch books, one in the British Museum __ 
with drawings executed in pencil, and the othera | 
later work containing pen drawings in the Louvre, 
In these sketches, which cover a large range of 
subjects, and display extraordinary fertility and 
freedom of invention, we can trace the wide- 
reaching influence which Jacopo exercised through _ 
his sons on the whole development of Venetian 
art, while even his son-in-law Mantegna is seen to 
have borrowed many motives therefrom. Jacopo’s” 
contact with Florentine art, and notably with 
Paolo Uccello, who worked in Venetia in the 
twenties and again in the forties of the 15th 
century, led him to attempt a more scientific con- 
struction of the picture space than he had origin- 
ally learnt; while the influence of classical art is 
clearly seen in his treatment of the figure. | 
Nevertheless he remained essentially a medieval 
draughtsman, fluent and harmonious in his line, | 
but wanting in any feeling for logical and natural- 
istic construction, REF > § 


NOILVYNSDIASNVAL AHL 
unasnyy sazqon | [ozoyg 24pUur py 


INIITAA INNVAOID 


{ 


TC 


BELLINIANO, Virrors, who is considered to 
entical with Bellini Bellini and Vittore di 
), was a native of Venice, and, according to 
lfi, flourished about the year 1526. He painted 
orical subjects, and several of his pictures are 
1e Confraternity of St. Mark at Venice, and in 
the churches of the neighbouring towns. 

_ BELLIVERT. See Biniverr. 

-_ BELLOC, Jean Hivarrz, who was born at 
Nantes in 1786, studied under Regnault and Gros, 
n Paris, and at first painted historical subjects ; 
mut he abandoned these for portraiture, in which 
ranch of art he admirably succeeded. His por- 
raits include those of the Duchess of Berri and 
other noted persons. He became Director of the 
Free School of Design in Paris, where he died in 


1866. 

_ BELLOTTI, Pierro, was born at Bolzano, in 
625. He was ascholar of Girolamo Ferrabosco, 
under whom he became an excellent colourist. He 
painted some historical subjects; but was more 
employed in portraits, in which he was very suc- 
cessful. He was a good copyist of other painters. 
‘He died at Venice, in 1700. 

_ BELLOTTO; Begnarpo, who was born at Venice, 
in 1724 or 1720, was the nephew of Antonio Canal, 
called Canaletto, the celebrated painter of the views 
‘in Venice, whose name he adopted, and by whom 
he was instructed in art. In imitation of his uncle, 
he also painted architectural and perspective views, 
im a very picturesque and spirited manner. He 
resided in Italy, in Germany—especially in Dresden 
—and in Poland. He died at Warsaw in 1780. 
‘The following are some of his best works: 


Berlin. Gallery. Two Views in Pirna (from the 
Suermondt Coll.). 

Cassel. Gallery. Views in Venice. 
Darmstadt. Gallery. Venetian scene ; and others. 
Dresden. Gallery. Views of Dresden. 

a » Views of Pirna. 

a - Views in Poland. 
na ve Views in Italy. 
Cin all thirty-eight works.) 

Mijian. Brera. Landscapes. 


Munich. Pinakothek. 
Petrsbrg. Hermitage. View of the Rialto, Venice. 
Turin. $Pinacoteca. Views of Turin. 

Vienna. Liechtenstein G. View in Pirna. 

He has etched, from his own designs, several 
views in Dresden, Warsaw, and Vienna, and other 
subjects, as follow: 

A set of six Landscapes and Views. 

A set of twelve architectural Ruins. 

Fifteen Views in Dresden. 

Eight Views in the environs of Dresden. 

Three Views in Warsaw. 


BELLUCCI, Anronto. See BEtvcct. 

BELLUNELLO. See Brrruoxorri, ANDREA DI. 
BELLY, Jacques, a French painter and en- 
graver, was a native of Chartres; he was born in 
1609, and died at Chartres in 1674. He was a 
pupil of Simon Vouet, and resided for many years 
in Rome, where he executed his best known work, 
‘La Gallerie du Palais Farnaise de la ville de 
Rome,’ a series of engravings after the frescoes 
of Annibale and Agostino Carracci, published in 
1641. 

BELLY, L&on Avucustr ADOLPHE, a French land- 
scape painter, was born at St. Omer, in 1827, He 
studied under Troyon and Rousseau. He spent 
much of the latter part of his life in the Kast, 
which furnished him with many subjects. He 
died in 1877. His best works are: 


12 


View of Munich. 


PAINTERS AND ENGRAVERS. 


Twilight in November. 

Fishers at Equilles. 

The Desert of Nassoub. 

The Plain of Djyseh. 

ee ing to Mecca. 1861. (Jn the Luxembourg 

allery, 

The Banks of the Nile. 

Approach to an Egyptian Village. 

The Dead Sea. 1866. 

The Nile—near Rosetta. 

Montauban in Sologne. 
Gallery.) 


1857. 


1877. (In the Luxembourg 


BELMONTE y VACAS, Mariano. This land- 
scape painter was a native of Cordova, and a pro- 
fessor of Fine Arts at Cadiz and at Valencia. He 
exhibited his works in the Spanish Exhibitions 
in 1858, 1860, and 1862, and obtained several 
pet _ He died at Valencia in 1864. Among his 

est paintings are: 

A view of the Casa de Campo at Madrid. 

The Cavern of Palomas at Valencia. 

BELSKY, ALExeI, a pupil of Girolamo Bon, 
worked in the second halt of the 18th century. In 
the Hermitage at St. Petersburg there is an archi- 
tectural piece by him, signed and dated 1789. 

BELTRAFFIO, Giovanni Awnvonto, (or Bot- 
TRAFFIO,) a nobleman who was born at Milan in 
1467, and studied art under Leonardo da Vinci; 
but he painted only as an amateur. He died at 
Milan in 1516. Of his works, which are rather 
scarce, the following may be mentioned: 


Bellaggio. Frizzont C. Madonna and Child. 

Berlin. Gallery. St. Barbara. 

London. Jat. Gall. Madonna and Child. 

Milan. Poldi Coll, Madonna and Child. 

Naples. Museum. Infant Christ and St. John (after 
Leonardo da Vinci). 

Paris. Louvre. A Virgin and Child, adored by 


the Casio Family (once in the 
church of the Misericordia, at 
Bologna). 


BELTRANO, AGostino, and his wife, ANIELLA 
(called ANIELLA BELTRANO-Rosa and ANNA DI Rosa), | 
were Neapolitan painters and scholars of Massimo 
Stanzione, of whom Aniella was the niece. They 
are mentioned together, as they painted alike, and 
jointly prepared many pictures which their master 
afterwards finished. They were both painters of 
no common merit, as is shown by many altar- 
pieces and cabinet pictures in oil. Some, however, 
belong to Aniella alone, and are highly extolled ; 
her uncle is suspected of having had a consider- 
able share in them, as Guido had in those of 
Gentileschi. She was murdered by her husband 
in a fit of jealousy, in the year 1649, at the age 
of 36: he survived until the year 1665. 

BELUCCI, Antonio, (or BELLUCCI,) who was 
born at Soligo, near Venice, in 1654, was a scholar 
of Domenico Difinico, and according to Orlandi 
painted several altar-pieces for the churches at 
Venice and Verona. He painted in Vienna, for 
Charles VI. ; at the court of the Elector Palatine ; 
and in London, at Buckingham House and else- 
where. He returned to his native country, and 
died at Soligo in 1726. In the church of the 
Ascension at Venice, is a fine picture by him of the 
‘Nativity.’ In the Munich Gallery are a ‘ Psyche 
and the sleeping Cupid,’ and a ‘ Venus and Cupid, 
riding on the waves ;’ and in the Dresden Gallery 
are a ‘ Venus, attended by Cupid, feeding a dove,’ 
and a ‘Madonna and Child.’ Several of Beeb 2 


A BIOGRAPHICAL DICTIONARY OF 


scapes of Tempesta are enriched with figures by 
Belucci. : 

BELVEDERE, Abate ANDREA, born at Naples in 
1646, was, it is said, a scholar of Ruoppoli, and ex- 
celled in painting fruit and flowers. He was one of 
the artists employed by Charles II. of Spain; and in 
conjunction with Luca Giordano (who painted the 
figures), he executed several of the ornaments of 
the Escorial. His touch was firm and free, and 
was peculiarly adapted to the imitation of the still- 
life he represented, whilst his knowledge of chiar- 
oscuro enabled him to give his works a natural and 
pleasing effect. He quitted painting for the study 
of literature, and died in 1732—according to some 
authors at Venice, to others at Florence. 

BEMBO, BonirFazio, of Cremona, flourished from 
about 1455 to 1478. He was employed by Fran- 
cesco Sforza at Milan and Padua, but after his 
patron’s death he removed to Cremona. He painted 
there, in Sant’ Agostino, full-length portraits, in 
fresco, of Francesco Sforza and his wife, Bianca, 
which have been much damaged by restoration. 
Pictures by him also remain in the cloister of La 
Colomba, at Cremona. Bembo was an able art- 
ist, spirited in his attitudes, magnificent in his 
draperies, and glowing in his colours. 

BEMBO, G1ANFRANCESCO, who was either younger 
brother or son of Bonifazio, flourished at Cremona 
till 1524. He is supposed to have visited Rome, 
and is thought to be identical with a painter who 
was there known as VETRIARIO. His works are seen 
in Cremona, in the cathedral of which city are an 
‘ Adoration of the Kings,’ and a ‘Presentation in 
the Temple;’ in San Niccold is a ‘St. Nicholas 
with the Virgin ;’ and in San Pietro is a ‘Madonna,’ 
dated 1524, his last known work. Bembo’s pic. 
tures contain very slight traces of the antique: 
he resembles Fra Bartolommeo in point of colour- 
ing, but is inferior to him in the dignity of his 
figures and in his drapery. Rosini has given a 
print of a votive picture by him, the design of 
which has much of the grace and dignity of 
Raphael. 

BEMMEL, Van. A family of landscape painters 
of this name flourished, during the 17th and 18th 
centuries, at Nuremberg and elsewhere. Those 
whose biographies are given were the most note- 
worthy members of this numerous but somewhat 
unimportant family. ‘The accompanying genea- 
logical table is appended, in order to illustrate, in 
as short a space as possible, the relationships of 
these artists. 


WILLEM VAN BEMMEL (1630—1708). 


Johann Georg Peter 
aaa . seeing 
reais : 1 
Joel Paul Johann Noah Christuph. Johann Christoph. 
(1713— ). (1716— 1758). 
Georg Christoph Gottlieb 
(1738—1794). 


Karl Sebastian Simon Joseph 
(1743-1796). (1747—1791). 
BEMMEL, PETER Von, the second son and pupil 
of Willem van Bemmel, was born at Nuremberg 
in 1685. He painted landscapes; and was especi- 
ally successful in representing thunder-storms and 
winter-scenes. His works are seen in the galleries 
of Brunswick and his native city. He etched six 
plates of landscapes, and died at Ratisbon in 1754. 
His sons, CHRISTOPH and JOHANN CHRISTOPH VON 
BemmEL, followed the art of their father. 
BEMMEL, WILLEM VAN, a Dutch landscape 
116 


painter, was born at Utrecht in 


a | 


1630. He w. 
scholar of Herman Saftleven, and, like hisinstructor, 
excelled in painting landscapes. Not satisfied with 
the scenery of his native country, he went to Italy, 
and passed some years in making drawings of the 
most picturesque views in the environs of Rome. 
On leaving Italy he travelled through Germany, — 
and settled at Nuremberg in 1662, where he met 
with great encouragement, and became the founder _ 
of a numerous family of artists. The studies he — 
had brought with him from Italy were an excellent — 
resource to him in the composition of his pictures, — 
which were frequently enriched with figures by — 
Roos and others. His landscapes have rarely 
found their way to England, but may be seen — 
in the galleries of Vienna, Dresden, Augsburg, —_ 
Frankfort, and Nuremberg. He etched six plates _ 
of landscapes which are dated 1654, and show the — 
hand of a master. Hedied at Wohrd,near Nurem- 
berg, in 1708. a 
BENAGLIO, Francesco, was a follower of Gi- 
rolamo Benaglio, and is said to have painted a 
fresco at Santa Maria della Scala in 1476. There — 
are still existing several frescoes by him in dif- —~ 
ferent churches in Verona. The dates of his birth 
and death are unknown. a 
BENAGLIO, GrRoLaAmo, a painter of Verona, 
flourished in the 15th century. An altar-piece, 
of the ‘Madonna and Saints,’ dated 1487, and 
several panels by him, are inthe Verona Gallery. 
BENARD, J. F., a French engraver, who 
resided at Paris about the year 1672, engraved 
several architectural and ornamental subjects for 
the work published at Paris by Jean Berain. — 
BENASCHI, Giovanni Battista, Cavaliere, (or 
BEINASCHI,) a Piedmontese painter, was born at 
Turin, in 1636. He was instructed in the rudi- 
ments of art by Spirito, and then went to Rome, __ 
where he became the scholar of Pietro del Po; but 
afterwards formed his style from an imitation of 
the pictures of Lanfranco. The principal works of —_ 
this artist are at Naples, where he painted several _ 
ceilings, and other works in.fresco. He possessed 
an inventive genius, and was-an able designer. 
He died in 1688. There is an etching by this — 
painter of a ‘Holy Family,’ after Giovanni Do- __ 
menico Cerrini, who was his intimate friend. . 
BENAVIDES, VINCENTE DE, a Spanish painter, 
born at Oran in 1637. He was a scholar of Fran- 
cisco Rizi, at Madrid; he afterwards became a __ 
good painter in fresco, and was much employed in _ 
theatrical decorations. He was appointed painter _ 
to Charles II. in 1691, and died in 1703. 
BENAZECH, Caries, a son of Peter Paul 
Benazech, was born in London in 1767. He 
studied under Greuze, and in Rome; he was in 
Paris during the Revolution, and is best known by __ 
his four pictures of ‘Events in the Life of Louis 
XVI.,’ which were engraved by Luigi Schiavonetti. _ 
He usually painted portraits, some of which he 
himself engraved. He died in 1794, in London. — 
BENAZECH, PETER Pauvt, an engraver, who is - 
said to have been born in London about the year 
1744, He was a pupil of Vivares, and, according 
to Basan, worked some time at Paris, but returned 
to England. We have several plates by him of 
landscapes and other subjects, of which the follow- 
ing are the principal ; a 
Peasants playing at Bowls; after A. van Ostade. es 
Fishermen ; after Vernet. ‘i 
Return from fishing ; after the same. 
A Calm at Sea; after the same. 


j Morning ; after the same. 


Four large landscapes; after Dietrich; engraved in 
1770 and 1771. These are his finest prints. 


BENCOVICH, Ferpsrico, called ‘Il Federi- 
ghetto di Dalmatia,’ was a native of Dalmatia, but 
was educated at Bologna; he flourished about the 
year 1753. He appears to have studied the style 
of Carlo Cignani, to whose firmness of design he 
approached more nearly than he did to the amenity 
of his colouring. He produced several estimable 
works at Bologna, Milan, and Venice, and in the 


church of the Madonna del Piombo at Bologna 


is an altar-piece by him of the ‘Crucifixion of St. 
Andrew.’ He was more employed in painting 
easel pictures than large works; many of the 

former are in Germany, where he resided some 
ears. 

BENDEL, Hans Siemunp, of Schaffhausen, in 
Switzerland, was an historical painter and litho- 
grapher, and attended the Academy of Munich, 
under Kaulbach. He commenced to paint a series 
of cartoons with scenes from Swiss history, but 
unfortunately died, in 1853, before they were com- 
pleted. Among his other works are the illustra- 
tions for Goethe, for Pestalozzi’s ‘Lienhard und 
Gertrud,’ for Hebel’s ‘Poems,’ and for the ‘ Niiny 
Gléckly ’ (the Nine o’clock Bell) at Schaffhausen. 
-~BENDZ, WitHELM FERDINAND, who was born at 
Odense, in the island of Funen, in 1804, studied 
under Eckersberg in Copenhagen, and became a 
good painter of portraits and genre pieces. In 
1831 he went by way of Munich to Italy, and died 
at Vicenza, in 1832. Of his works we may mention : 

Portrait of the Pastor Hornsyld. 1825. 

A Painter in his Studio. 1826. (Jn the Copenhagen 

Gallery.) 

Interior of an Art Academy. 1826. 


Gallery.) 
A Sculptor in his Studio. 1827. (Jn the Copenhagen 


Gallery.) 
Christian IV. at the Battle of Femern. 1828. 


BENEDETTI, Maria, was a native of Reggio, 
and a scholar of Orazio Talami. According to 
Averoldi, he flourished about the year 1700, and 
was esteemed as a fresco painter. One of his 
best works was the ceiling of the church of Sant’ 
Antonio at Brescia. 

BENEDETTI, Tommaso, who was born in Lon- 
don in 1797, went early to Vienna, where he spent 
the greater part of his life, and died in 1863. 
Amongst his best engravings are the following : 

Portrait of the Emperor Francis I.; after Ammerling. 

Portrait of the Emperor Francis I.; after Kupelwieser. 

Portrait of the Duke of Reichstadt; after Dafinger. 

Portrait of the Archduke Charles of Austria; after 

Kriehuber. 

The Entombment; after Titian. 

Madonna with the Cherries ; after Titian. 

BENEDETTIS, Domenico pr. This artist was 
born in Piedimonte d’Alise about the year 1610. 
He was sent when young to Naples, where he 
was placed under the tuition of Fabrizio Santa- 
fede, and after studying some time under that 
master, he went to Rome, where he had the ad- 
vantage of becoming a scholar of Guido, whose 
graceful and elegant manner he imitated with suc- 
cess. On his return to Naples, he was favoured 
with the protection of the king, whose palace he 
ornamented with several pictures; he also painted 
some works for the churches. Dominici mentions, 
as his best work, the ceiling of the church of 
Santa Maria Donna Regina, where he has repre- 
sented, in the different compartments, subjects 


(In the Copenhagen 


PAINTERS AND ENGRAVERS. 


from the life of the Virgin Mary, entirely in the 
manner of Guido. He died in 1678. 

BENEDETTO, It. See Casriauione. 

BENEDETTO, Fra. See FIEsoLe, BENEDETTO 
DA. 
BENEDICTO, Rogvs, an historical painter of 
Valencia, and scholar of Gaspar de la Huerta, for 
whose works the pictures of Benedicto are often 
mistaken. He was a better colourist than designer. 
His most distinguished picture is the ‘ Miracle of 
St. Francis de Paul feeding 3000 persons with a 
oan quantity of bread.’ He died at Valencia in 

BENEFIAL, Cavaliere Marco, was born at 
Rome in 1684. Several of his works in that city 
prove him to have possessed very considerable 
ability. In the Academy of St. Luke is a fine 
picture of ‘Christ and the Samaritan Woman ;’ 
and in the church of the ‘Stimmate,’ the ‘ Flagel- 
lation.’ In the Palazzo Spada there is a saloon 
entirely painted by him, which is considered one 
of the finest productions of his time: and there 
are also preserved the cartoons for his great fresco 
work of the dome of the cathedral at Viterbo. 
He died in 1764. 

BENET, GeERoNIMO, painted portraits, figures 
of the Virgin and Christ, to which he gave con- 
siderable expression. He died at Valladolid in 
1700. 

BENEVIDES. See Ramirez, 

BENFATTO, Lvuici1, who was born at Verona 
in 1551, was the nephew and scholar of Paolo 
Veronese, under whom he acquired a bold and 
vigorous style of painting. According to Ridolfi, 
he maintained for some time after the death of 
Paolo the celebrity of the school, and the splendid 
system of colouring established by that great 
master. He distinguished himself by many admir- 
able works in public buildings at Venice. In the 
church of St. Nicholas is a grand composition by 
him, representing the Ascension of that saint to 
heaven, attended by a choir of angels, and figures 
emblematical of the virtues of Faith, Hope, and 
Charity, and in the Chiesa di Santa Marta are 
several pictures of the life of that saint. Many 
other works of Benfatto are mentioned by Ridolfi. 
He died in 1611. 

BENING, Levin, was the eldest daughter of 
Simon Bening, a miniature painter of Bruges, and 
was instructed in miniature painting by her father. 
She married Georg Teerling of Blankenberghe, 
who came with her to England, where her remark- 
able talents recommended her to the notice of 
Henry VIII., Edward VI., and the queens Mary 
and Elizabeth; with the last of whom she was in 
great favour as late as 1570, but the time of her 
death is not recorded. She was also known in 
England as ‘ Levina of Bruges.’ 

BENING, Srmon, a Flemish illuminator and 
miniature painter, was probably a native of Ghent, 
where his father, Alexander Bening, exercised the 
calling of a draughtsman and illuminator. Simon 
worked in Ghent, Antwerp, Brussels, and London, 
and died at Bruges in 1561. There is in the Manu- 
script Department of the British Museum a splen- 
did example of his work, ‘ Arbre généalogique de 
la Maison souveraine de Portugal,’ executed be- 
tween the years 1530 and 1534. 

BENINI, Siaismonpo, was born at Cremona, 
about the year 1675, and studied under Angelo 
Massarotti. He excelled in painting landscapes, 
in which the gradation in the distances was well 

Li 


the value of his works. 

BENNETT, Cuartzes H., was a designer on 
wood, whose first sketches appeared in ‘ Diogenes.’ 
He also produced many illustrated children’s 
books, as well as illustrations to the ‘Pilgrim’s 
Progress,’ and sketches in ‘Punch.’ He died in 
1867, aged 37. 

BENNETT, Wit1am, a water-colour painter, 
was born in 1811. It is believed that he re- 
ceived his first lessons in art from David Cox. 
In 1848 he was made a member of the New 
Water-Colour Society, and contributed landscapes, 
chiefly of English scenery, to their exhibitions, 
until his death in 1871. 

BENNETT, Wituiam JAMES, a water-colour 
painter, was one of the ‘Associated Artists’ in 
1808, and twelve years afterwards was elected an 
Associate of the Water-Colour Society. He painted 
views near Naples, and on the coast of Barbary. 
His last exhibited drawings were published in 1825. 

BENNETT, Wituiam MINEARD, born at Exe- 
ter in 1778, was a pupil of Sir Thomas Lawrence, 
and obtained some celebrity as a painter of por- 
traits and miniatures—exhibiting at various times 
at the Academy. About 1835 he went to Paris, 
where he was patronized and decorated by Louis 
Philippe. In his later years he returned to Exeter, 
where he died in 1858. 

BENOIST, ANrToINE, (called Du CrRcuz,) a 
French portrait painter, was born at Joigny (Yonne) 
in 1632. He became painter in ordinary and first 
scuiptor in wax to Louis XIV., and was received 
into the Academy in 1681. There is at Versailles 
a remarkable medallion of Louis XIV. executed by 
him in coloured wax. He died in Paris in 1717. 

BENOIST, ANTOINE, a French engraver, was 
born at Soissons in 1721, and died in London in 
1770. He engraved, after Blackey, a portrait of 
Louis XV., King of France. 

BENOIST, GuittaumeE Purwiprs, a French line- 
engraver, was born near Coutances, in Normandy, 
in 1725. He engraved, in a neat style, some 
portraits, and a few other subjects. He died 
in Paris in 1800. The following plates are by 

im: 


PORTRAITS, © 


Galileo Galilei; after F. Villamena, 

The President de Montesquieu, 

Alexander Pope. 

Rosen de Rosenstein, physician. 

Sir Isaac Newton. 

Blaise Pascal. 

Albert Haller. 

Mile. Clairon, actress. 

Jacques André Joseph Aved, painter; after Aved. 


SUBJECTS, 


Jupiter and Juno; after Giuliano di Parma. 
Bathsheba bathing ; after Bounveu. 


BENOITS, Madame Marit GUILHELMINE, whose 
maiden name was Laville-Leroux, and to whom 
Demoustier addressed his ‘ Lettres & Emilie sur la 
Mythologie,’ was born in Parisin 1768. She painted 
many familiar subjects, and the portraits of several 
distinguished persons, among which are those of 
the Emperor Napoleon, and his wife, Maria Louisa. 


118 


were, ‘Mercury and Argus’ (1839); ‘The Hermit 
and the Slothful Knights’ (1841), taken from an 
incident in Sir Walter Scott’s ‘Ivanhoe;’‘Judith’ _ 
(1844); ‘Esther’ (1845). In 1845 he obtained 
the great prize of Rome, in history, with his pic- __ 


ture of ‘Jesus in the Judgment Hall.’ In 1853 


he exhibited a large picture of ‘St. Francis of 
Assisi dying, blessing his native city,’ which was 
purchased for the Luxembourg Gallery, and at 
once placed him ina distinguished rank in hisart; 
To the Universal Exhi- 


it is now in the Louvre. 
bition of 1855 Bénouville sent ‘Christian Martyrs 
entering the Amphitheatre,’ and ‘ A Prophet of the 


Tribe of Judah killed by a Lion;’ works more Ss 
remarkable for their composition than their exe-— 


cution. In 1857 he exhibited ‘The Two Pigeons,’ 
‘Raphael seeing the Fornarina for the first time,’ 
and ‘Poussin on the banks of the Tiber.’ About 


this time he painted the decoration of the interior _ 
of the Hétel de Ville. Early in 1859 he completed 


two pictures, ‘St. Clair receivng the body of St. 
Francis of Assisi,’ and ‘Joan of Arc,’ which were 
exhibited in the Salon of that year. He also 
painted portraits. He received two second class” 
medals in 1852 and 1855 respectively ; a first class. 
medal in 1853 ; and the decoration of the Legion of 
Honour in 1855. He died suddenly, in Paris, in 1859. 


BENOUVILLE, Jean AcHILLE, French lJand- — 
scape painter, born in Paris on the 15th of July, — 
1815, was a pupil of Picot,and gained the ‘ Prix de © 


Rome’ for landscape in 1845, having taken a third- 
class medal the previous year. After his return from 
Italy he principally exhibited scenes inspired by 
that country, together with landscapes taken from 
Central France up to about the year 1865. He 
obtained a mention in 1855, and a medal of the 
first class in 1863, in which same year he was decor- 
ated with the Legion of Honour on the 5th of July. 
His most important pictures of that date were ‘A 
View of Rome from the Villa Borghése,’ ‘The 
Coliseum, seen from the Farnese Gardens,’ and 
‘The Arno near Tivoli.” He then made an expedi- 


tion to Switzerland and painted various bits of the - 
grand mountain scenery of that country. His 


earliest work, like his latest, was drawn from the 

environs of Paris, in which city he died on the 6th 

of February, 1891. | 
BENSHEIMER, JoHann, a German engraver, 


medallist, and designer, by whom we have a set of 


portraits of the Electors of Saxony. He worked at 


Dantzic, Berlin, and Dresden, where he lived from _ a 


1670 to 1700. He marked his plates with the 
initials of his name, J. B. 

BENSON, GiuLio, who was born at Genoa, 
about the year 1601, was a scholar of Giovanni 
Battista Paggi. 
eminent architect. He painted history and per- 
spective, was patronized by the Doria family, and 
executed some ornamental works in their palace. 
His most esteemed work is the ‘Coronation of 
the Virgin,’ painted in fresco in the church of the 
Nunziata. There are several of his oil paintings 
in the churches at Genoa; that of St. Domenico is 
much admired. He died in 1668. 

BENT, JOHANNES VAN DER. See VAN DER BENT. 

BENTLEY, CuHaArues, a painter of coast and 


river scenery, in water-colours, was born in 1806. 


Soprano says that he was also an — 


?. 
. 


nd 


‘He was elected an associate of the Water-Colour | Arezzo. Cathedral. 
_ Society in 1834, and a full member in 1844, and 


constantly contributed to their annual exhibitions. 


His subjects are views in France, Holland, and 


o 


Italy, as well as on the shores of his native country. 
He died of cholera in 1854. 

BENTLEY, Josep Cuayron, a line-engraver, 
was born at Bradford in 1809. His first attempt 
in art was landscape painting; but coming to 
London in 1832, he commenced to study engraving 
under R. Brandard. Some of his best plates were 
engraved for the Vernon Gallery, after Gains- 
borough, Callcott, and Linnell. Always of a weak 
constitution, his health entirely gave way under 
too persistent exertion, and he died in 1851. 

BENTLEY, Ricuarp, the only son of the 
eminent classical scholar Dr. Bentley, master of 
Trinity College, Cambridge, was an amateur artist 
of some celebrity towards the end of the last 
century. He is best known by his illustrations 
of the edition of Gray’s works which Horace 
pape printed at Strawberry Hill. He died in 

782. 
BENTUM, Justus van, a pupil of Godefried 
Schalken, was born at Leyden in 1670, and died 
in 1727. He painted in the manner of his master. 
A picture by him of a ‘Cake-seller’ is in the 
Belvedere at Vienna. 

BENVENUTI, Dr’. See Botoena, SIMONE DA. 

BENVENUTO, Giovanni Barrista, called DELL’ 
ORTOLANO, because his father, Francesco di Benve- 
nuto, was a gardener, was born at Ferrara about 
the year 1490. By some writers his birth is placed 
as early as 1467. After studying some time in his 


native city, he went to Bologna, where, in 1512-13, 


he was influenced in his painting by the works 
of Raphael and Bagnacavallo. He painted in the 
style of Dosso Dossi. Barotti mentions several 
of the works of Benvenuto in his description 
of Ferrara, where they are highly esteemed. In 
the church of San Niccold he painted, in 1520, 
the ‘ Virgin Mary and Infant Jesus,’ with several 
Saints; in Santa Maria de’ Servi the ‘ Nativity ;’ 
and in San Lorenzo the ‘ Adoration of the Magi.’ 
From 1512 to 1524 he worked at Ferrara. He 
is supposed to have died, while still young, in 
1525. His best work is a ‘St. Sebastian, St. Roch, 
and St. Demetrius,’ in the National Gallery — 
formerly in the parochial church of Bondeno, near 
Ferrara. In the Ferrara Gallery there are a ‘ Na- 
tivity ’ and a ‘ Christ in the Garden’ by him. 

BENVENUTO, Pierro, who was born at Arezzo 
in 1769, studied the works of Andrea del Sarto at 
Florence, and those of Raphael at Rome. He was 
also much influenced by the style of J. L. David, 
and was considered one of the leading painters of 
the modern Tuscan school, His style is noble and 
elevated, although somewhat chargeable with cold- 
ness, his design pure and correct, and his colour 
often brilliant. He painted ‘ The Saloon of Her- 
cules,’ in the Pitti Palace, and the cupola of the 
chapel of the Medici. The last-named is one of 
the most important of his works; in it are repre- 
sented eight grand subjects, taken from the Old and 
the New Testament, the four Prophets and the four 
Evangelists. It was under the superintendence of 
this artist that Carlo Lassinio engraved the sub- 
jects in the famous Riccardi Gallery, painted by 
Luca Giordano. Hedied at Florence in 1844, while 
holding the post of Director of the Academy. 
Amongst his best works may be mentioned the fol- 
lowing : 


_ PAINTERS AND ENGRAVERS. 


Judith displaying the head of 
Holofernes to the assembled 
people (engraved by Ricciani). 

Florence. Pal. Corsini. Pyrrhus killing Priam, after the 
taking of Troy (engraved by 
the same). 

Scenes from the Old and New 
Testament — on the ceiling of 
the Choir chapel (fresco). 

bs Uffizi. His own Portrait. 
Ravenna. Cathedral. - The death of St. Chrysologus. 


BENVENUTO pa GAROFALO. See Tist. 

BENVENUTO (di Giovanni) pEL GUASTA. 
See Dri Guasta, BENVENUTO. 

BENWELL, Joun Honass, born at Blenheim in 
1764, studied in the Royal Academy Schools, and 
in 1782 gained a silver medal. Some of his works, 
such as his ‘Auld Robin Gray,’ ‘Children in the 
Wood,’ &c., were engraved. He used water-colours 
and crayons in an effective manner. He died in 
1785, and was buried in Old St. Pancras church- 


pe S. Lorenzo. 


yard. 

BENWELL, Mary, a painter of portraits in 
crayons and in miniatures, exhibited her works at 
the Incorporated Artists’ Society and the Royal 
Academy between 1760 and 1782. Her portrait 
of ‘Queen Charlotte’ was engraved by Richard 
Houston. Late in life she married a Mr. Code, 
and resided at Paddington, where it is believed 
she died soon after 1800. 

BENZONO, AnTonio, was a Veronese painter of 
the 16th century, and a disciple of Francesco 
Carota. The Gallery at Verona possesses a ‘ Virgin 
and Child, between St. Jerome and St. George,’ 
signed and dated by him in 1531. No dates are 
given of his birth or death. 

BER, Jacoz, (commonly called JAcOBBER,) was 
born at Bliescastel, in Bavaria, about 1806, and 


| studied under Gerard van Spaendonck. He held 


for a long time the post of flower and fruit painter 
at the porcelain factory at Sévres. Ber received 
numerous medals for his fruit and flower paint- 
ings, and the cross of the Legion of Honour. He 
died in 1864. 

BERAIL, Francois, a French painter and 
geographer, was born in 1665 at Chateaudun, where 
he died in 1732. There is a view of the Royal 
Abbey of the Magdalen at Chateaudun, engraved 
after him by J. B. Scotin. 

BERAIN, JEAN, ‘the elder,’ a French painter, was 
born in Paris about the year 1638. He was ap- 
pointed in 1674 “dessinateur de la Chambre et du 
Cabinet du Roi,” in which capacity it was his duty 
to design the scenery and costume for the court 
fétes and ballets. He died in Paris in 1711. 

BERAIN, JA, ‘the younger,’ who was born in 
1674, and died in 1726, succeeded his father, Jean 
Berain the elder, as draughtsman to the king, 
and etched several plates, mostly from his own 
designs, in very neat manner, though rather stiff 
and formal; among others are the following: 

Twelve plates— Of the ornaments of painting and 

sculpture, which are in the gallery of Apollo in the 

_ Louvre. PF 

The Mausoleum for the Funeral of Maria Anna Chris- 

tina Victoria of Bavaria. 

Devices for a Funeral Ceremony. 

BERANGER, Cuarizs, a French painter of 
animals and fruit, was born at Sévres in 1816. He 
was a pupil of Paul Delaroche, and died in Paris 
in 1853. 

BERARDI, Fapio, an Italian engraver, born at 
Siena in 1728. He went to Venice when young 

11 


~ 


half length; 
after 


St. Seraphinus worshipping the Cross, 
frontispiece. 1767. 

A Woman sleeping, surprised by a Sportsman ; 
Prazetta. 

Four Pastoral Subjects; after the same. 

Isaac blessing Jacob; after J. B. Pittoni. 

The Sacrifice of Gideon ; after the same. 

Jacob and Rachel ; after J. Varotti. 

Hagar and Ishmael in the Desert; after J. Varana. 

Six Views in Venice; after Canaletto; engraved by 
Berardi and Wagner. 1742. 


BERCH, Van PLATTEN. See PLATTEN-BERCH. 


BERCHEM. Niconaas (or CLAas, the shortened | 


form) PIETERSZ is commonly known as BERCHEM 
or BERGHEM. By several writers this has been as- 
sumed to be amere nickname, and various reasons 
have been given for its origin. But inasmuch as 
he is entered in the town-records as Berchem, and 
that he adopted it for the signature on his works, 
it may to all intents and purposes be considered a 
surname. He was born at Haarlem in 1620. His 
father, whose name was Pieter Claasz, was known 
as Pieter Claasz van Haarlem, and it was from 
him that Nicolaas received his first instruction in 
art. He afterwards studied under Jan van Goijen, 
N. Moeijaert, De Grebber, with Jan Wils, whose 
daughter he married, and with Weeninx. The pic- 
tures he painted in the early part of his life have 
some resemblance to the works of Weeninx, al- 
though touched with more delicacy; and, like the 
pictures of that master, they represent seaports and 
embarcations. He afterwards formed for himself 
a different and a more interesting manner, repre- 
senting landscapes of most delightful scenery, 
enriched with architectural ruins, and decorated 
with charming groups of figures and cattle. His 
pictures of those subjects are superior to any 
painter of his country, except his contemporary 
Jan Both, and there appears to have been some 
degree of rivalry between these celebrated artists. 
It is related that a great encourager of art, a 
burgomaster of Dordrecht— Van der Hulk by 
name—engaged Berchem and Both to paint each 
a picture, for which they were to receive re- 
muneration, and the one whose work should be 
thought the better was to have a certain sum, in 
addition, as premium. The two painters did their 
best, and on showing their work to their patron he 
assured them that their admirable performances 
had deprived him of the capability of preference, 
and that, as they had both reached the perfection 
of the art, they were both entitled to the premium, 
the prize of fame. Berchem’s painting is No. 
1076 in the Hermitage, St. Petersburg. Descamps 
considered it his masterpiece. From the sub- 
jects and the manner of many of his paintings it 
has been concluded that Berchem made a journey 
to Italy, though no precise information on the 
subject is to be obtained. He died at Amsterdam 
in 1683. The following is a list of his best paint- 
ings, in the public collections of Europe: they are 
not uncommonly seen in the private galleries of 
England : 
Amsterdam. Museum. Winter Landscape (dated 1647 
The three flocks of Sheep. 
Cattle crossing a Ford (dated 1656). 
The Ferry-boat. 
Landscape and Figures (executed in 
conjunction with Van der Hagen), 


A BIOGRAPHICAL DICTIONARY 
| Berlin. Museum. 


Mythological scene in a Lan 

(BERCHEM F), 
The Halt at the Inn (BERCHEM 
The Halt at the Forge (BERCHEM). 


Winter landscape (B 
99 ” 


” ‘ ” 
” ” 


“ Ps Female Head (a study), 
Brunswick. Gallery. Pomonaand Vertumnus, = 
Brussels. Museum. Landscape with Ruins, = ~~ 

= s Repose in the Meadow. fei 
Cassel. Gallery. A Forge (BERCHEM). . 
Darmstadt. Gallery. Herdsmen and Cattle. a 
Dresden. Gallery. Angels appearing tothe Shepherds — 

(signed BERIGHEM, 1 o> 

oe oe A Sunset (BERCHEM). 

E. *s Landscapes (eleven). __ ' i, 
Dulwich. Gallery. Landscape with Figures. a 

oe rs Wood Scene. aS “a 

a - Landscape (called ‘ Le Soir ’). et 

= a Landscape (called ‘ Le Midi’). : 
Hague. Museum. Landscape (BERRIGHEM, 1648). 

2 vi The Boar Hunt (BercHEM, 1659). 

* + Italian Ford (BeRcHEM, 1661), 

as “ Attack on a Convoy in the Moun- ~ 

tains (BERCHEM). __ 
London. Nat. Gall. Crossing the Ford (BERcHEM PINXT) 


Landscape with Ruin (BERCHEM). 
Italian Landscape (BERCHEM). ; 


- is » Ploughing (BERCHEM). 
et i. » Landscape (BERCHEM, 165—). 
Munich. Pinakothek. Landscapes. 


And others ; in all, eight works. " 
View near Nice (C. BERGHEM). Ne 
Landscapes with Animals (OC. BER- 
GHEM F. 1653). . ce 
The Ford (BrrcuEm F. 1650). _ 
” ” Eight other Landscapes with Animals. 
Petersburg.Hermitage Angels appearing to the Shepherds 
(BERCHEM). sa 
The Repose in Egypt (BERCHEM). — 
The Rape of Europa (BERCHEM, 
1649). 
Autumn (N. BERCHEM). 
Halt of Huntsmen (BERCHEM. 
1076; one of his best works). 
Italian Scenes. 
And others; in all, sixteen works. 
Landscapes with Figures and Herds 


” ” 
Paris. Louvre. 


99 9 


”? 3? 


No 


” 39 
Vienna. Gallery. 


(five). 
,, Liechtenstein Gal. Death of Dido. 
Judgment of Paris. 
Landscape (and others). 


9? 9? 
” ” 


Berchem sometimes signed his name C. Berchem, 
the C standing for Claas, and also, in early life, 
Berighem, or Berrighem. He occasionally painted — 
animals in the works of other masters, a8 Ruis- 
dael, Hobbema, Jan Wils, and others. The style 
of Berchem is excellent; he painted with surpris- 
ing facility, yet his pictures have all the finish that 
could be wished. Extremely happy in the choice 
and arrangement of his compositions, he has given = 
a singular grace and beauty to his figures, without 
departing from the propriety of costume. The 
distribution of his masses, and his arrangement of : 
light and shade, are masterly and intelligent; and 
the delicate gradation of his aérial perspective, the 
light floating of his skies, and the transparency 
of the water, have never been surpassed by any 
painter of his country. 

This celebrated artist has also amply contributed 
to the portfolios of the collector, by the numerous 
exquisite drawings and etchings he has left us 
of which the latter are executed in a much mor, 
finished manner than we are led to expect from 
the point of a painter. There is a descriptive 
catalogue of the etchings of Berchem, 4 
by Hendrik de Winter, published at a 
Amsterdam in 1767. ‘The following N3 e 
list comprises his principal plates: / ’ 


PAINTERS AND ENGRAVERS. 


SETS OF PRINTS ETCHED BY BERCHEM. 
‘Six plates of Cows, with the title, called the Milkmaid 
C. Berghem, fec. et exc. 1634 to 1644, 
Six of Sheep; in the title print, a woman sitting on a 
stone. 
Six of Goats; in the title print, a man sitting with a dog. 
Eight of Sheep; in the title print, a woman standing 
near a rock. 
- Eight of Sheep and Goats; in the title print, a man. 
Five larger plates upright, one dated 1652; all marked 
Berghem, fee. 
Four smaller plates of different animals, lengthways ; 
marked J. B. 
_ Six of the Heads of Sheep, Goats, &c.; small; scarce. 


SINGLE PRINTS ETCHED BY BERCHEM. 
_ A Cow drinking; Berchem, fec. 1680. 
A Cow watering; C. P. Berghem, inv. et fec.; fine and 


rare. 

A Landscape, with two Cows lying, and one standing; 
Berghem, fee. 

A Landscape, with Cows, and a man riding on an Ass; 
NV. Berghem, fee. 

A Landscape, with a Woman bathing her feet in a 
Brook, and a Man behind leaning on a Stick, with 
Animals and Figures, and a Ruin in the distance. 

A Boy riding on an Ass, speaking to another Boy, who 
mi playing on the Bagpipes. Called ‘The Bagpiper ;’ 


ne. 

A Landscape, with a Man playing on the Flute, and a 
Woman sitting; without a mark; scarce. 

A Landscape, with a Man standing, and a Woman seated 
suckling a child; without a mark; very scarce. 


BERCHET, Pierre, a French painter, born in 
1659. He was a scholar of Charles de la Fosse, 
under whom he studied till he was found capable 
of undertaking some works in the palaces in 
France. He came to England in 1681, and met 
with employment in ornamenting the houses of 
some of the nobility. His best work is the ceiling 
of the chapel of Trinity College, Oxford, where he 
has represented the ‘Ascension.’ He died in Lon- 
don in 1720. 

BERCK -HEIJDE, Gerrit, (BERKHEYDEN, or 
BERKEYDON,) the younger brother of Job Berck- 
Heijde, was born at Haarlem in 1638. The success 
of his brother encouraged him to become a painter, 
and he was assisted by his instruction. He entered 
the guild of St. Luke in 1660. These artists ap- 
pear to have been bound to each other by the 
most affectionate attachment; their pursuit of the 
‘same profession, instead of producing jealousy or 
ill-will, seems only to have inspired them with a 
laudable emulation, and a desire of contributing to 
each other’s celebrity. It is said that they resided 
together with their sister Aechje. Gerrit painted 
at Cologne, Heidelberg, Haarlem, and Amsterdam. 
He died at Haarlem in 1698. The pictures of 
Gerrit Berck-Heijde are faithful representations 
of the principal towns in Holland and Germany, 
pig with great neatness, and well coloured. 

hey are sometimes ornamented with figures by 
Job, who surpassed his brother in that branch of 
art. 


Amsterdam. Museum. View of Dam at Amsterdam (signed 
and dated 1677). 

View of Amsterdam (signed GERRIT 
Berck HEIDE, HAERLEM, 1668). 

View of the Hague (signed G. 
Brrck-HEYDE). 

A public place, with antique build- 
ings and figures (signed). 

A Hawking Party (szgned). 

The Stadhuis, Amsterdam (signed). 

View of Amsterdam, showing the 
two Synagogues (signed). 


Antwerp. Museum. 
Berlin. Museum. 
Dresden. “e 


Frankfort. Stadel. 


” 39 


Rotterdam. Museum. View 2 Cologne (signed and dated 
1673). 


Petersburg. Hermitage.Houses on the canal, Haarlem. 
Hunting party (signed). 


BERCK-HEIJDE, Jos, (BERKHEYDEN, or BER- 
KEYDON,) was born at Haarlem in 1630. He 
studied under a painter, Jacob Willemsz de Wet, 
but by a natural inclination for art, he employed 
himself, when young, in making sketches of the 
environs of Haarlem, and the commendation 
bestowed on his first essays encouraged him to 
adopt art as a profession, and he entered the 
guild of St. Luke in 1654. His genius led him to 
paint landscapes and views of the Rhine, which 
he represented in a very pleasing manner, and his 
attentive observance of nature enabled him to give 
an appearance of air and sunshine to his pictures, 
which produces a very agreeable effect. He 
decorated his landscapes with small figures, toler- 
ably correctly drawn, and very neatly touched. 
He sometimes painted village feasts and merry- 
makings, which are not without considerable 
merit. In company with his brother Gerrit, he 
travelled through Germany, and was for some time 
in the employment of the Elector Palatine, for 
whom he painted several pictures, and by whom he 
was presented with a gold chain and medal. He 
returned with his brother to Holland, where he met 
with great encouragement. He died at Haarlem 
in 1693. The following are some of his best works: 
Amsterdam. Museum. View of Haarlem (signed). 

Church Interior. 


” ” 


” 
Berlin. Museum. Winter Landscape (signed J.BERcK- 
HEYDE). 
Brussels.4remberg Col.View of the Old Bank at Amster- 
dam. 1678. 


View of the Town-hall at Amster- 
dam (szgned J. BERCK HrEYDE). 
Interior of the Cathedral of Haar- 

lem (signed and dated 1665). 
The old Exchange at Amsterdam 
(stgned). 
Petersburg.Hermitage. Views in Amsterdam (szgned). 


BERDELLE, Jouann Baptist, born at Mentz 
in 1814, studied first at Diisseldorf, under Schadow, 
and showed a great talent for portrait painting. 
When visiting Munich, in 1840, he was persuaded 
by Genelli to devote himself entirely to historical 
painting. He became a follower of C. Rahl, and 
painted in the manner of the Venetian artists of 
the 16th century. He executed some frescoes in 
the Polytechnikum at Munich, where he died by 
suicide in 1876. 

BERENGUER, Fra Ramon, Prior of the Char- 
treuse of Scala Dei, in Catalonia, painted, about 
the middle of the 17th century, a series of small 
pictures for the cloister, from the History of St. 
Bruno and the Order, for which he is said to have 
made copies at Parma from the celebrated works of 
Carducho, whose style he imitated with tolerable 
success. 

BERETTINI. See BERRETTINI. 

BERG, Magnus, who was born in Norway in 
1666, was a painter and sculptor. He was in- 
structed by Andersen, court painter in Denmark. 

BERG, NicoLAAS VAN DER. See VAN DER BERG. 

BERG, VAN DEN. See VAN DEN BERG. 

BERGAMASCO, It. See CasTELLI, GIOVANNI 
BATTISTA. 

BERGAMO, ANDREA Da. 

BERGE, AUGUSTE CHARLES DE LA. 


Dresden. Gallery. 


99 ” 


Rotterdam. /usewm. 


See CoRDELLE AGI. 
See DE LA 


| BERGE. 


121 


cs 


A BIOGRAPHICAL DICTIONARY 


BERGE, P. vAN pER. See VAN DER BERGE, 

BERGEN, DirK VAN DEN, (or BERGHEN). See 
Van DEN BERGEN. 

BERGEN, NicotaAas vAN, who was born at 
Breda in 1670, imitated the manner of Rembrandt ; 
he painted subjects of history, interiors, and con- 
versation-pieces. He died at Breda at the age 


of 29. 


BERGER, DaniIEL, an engraver, was born at 
Berlin in 1744. He was instructed in the art by 
his father, who did not attain great celebrity: he 
also studied under G. F. Schmidt. He engraved 
several portraits of the Royal Family of Prussia 
and other distinguished personages, and many his- 
torical and other subjects, principally after the 
painters of his country. In 1787 he was appointed 
rector and professor of engraving of the Academy 
at Berlin. He died in 1824. Among others we 
have by him the following plates: 


The Death of Major de Kleist ; after D. Chodowiecky. 

The Virgin and Child ; after Correggio. 

A Bust of a Man with a gold chain ; after G. van den 

Eckhout. 

The Death of General Schwerin ; after J. C. Frisch. 

The Virgin Mary ; after Raphael. 

Servius Tullius ; after Angelica Kauffmann. 

BERGERET, Pierre No.asQue, a French his- 
torical, landscape, and portrait painter, who was 
born at Bordeaux in 1780, was a pupil of the 
elder Lacour, of Vincent, and of David. His sub- 
jects are of the most interesting kind, whether 
taken from national histories or particular facts 
relating to individuals. Many of his pictures have 
been placed in the Luxembourg and other royal 
palaces. The bas-reliefs on the column of the 
Place Vendéme were designed by him ; he painted 
four of the portraits for the hall of the chancellors, 
and made designs for the medals struck at the 
Mint. Many of his pictures have been engraved ; 
and some serve as illustrations to editions of 
Boileau, La Fontaine, and other French classics. 
Bergeret died at Paris in 1863. 

BERGHE, VAN DEN. See VAN DEN BERGHE. 

BERGHEM, See BERCHEM. 

BERGLER, Josepu, was born in 1758, at Salz- 
burg. He was Director of the Prague Academy, 
and author of numerous etchings; during his 
sojourn in Rome he made a particular study of the 
works of Raphael. He was patronized by Cardinal 
Auersperg and Count Thun. His paintings had 
little transparency, and were wanting in reality of 
colour, but he made some good portraits. He 
died at Prague in 1829. 

BERGMANN, GeEore, who was born at Celle, 
near Hanover, in 1821, studied at the Diisseldorf 
Academy from 1843 to 1847; and became a 
painter of historical and biblical subjects. He 
died in 1870. He executed amongst others: 

Madonna and Child. 1847. 

Madonna and Child. 1850. 

The Death of Charles V. 1851. 

King of Hanover.) 

BERGMANN, Ienaz, born at Munich in 1797, 
studied painting under Langer at the Academy 
of that city. He painted portraits in oil, but is 
better known as a lithographer. 

BERGMULLER, JoHann GerorG, was born at 
Tirkheim, near Augsburg, in 1688, and studied 
under Andreas Wolf. He painted history and por- 
traits after the manner of Carlo Maratti. Some of 
his works are to be seen in the churches and houses 
of Augsburg, where he resided, and where he died 

122 


(Purchased by the 


Foe ee spe ie spies ee ‘ig 


oF 


in 1765. He is chiefly sown by ae e 

which he made from his own designs. 

others we have the following: re 
Four—the Baptism of Christ, the Tranaguration, the rk 


mong 


eh te 
é 4.) es Tos 


Resurrection, and the Ascension. 
The Conception. yt 
The Virgin Mary caressing the Infant Christ. . e. 
The Death of St. Joseph ; inscribed 8S. Joseph moriens. 
Christ on the Mount of Olives. : 
Sancta Catherina Victrix. 
St. Sebastian, Martyr. Bi 
The Virgin and Infant Jesus presenting the Rouen ‘a 
St. Dominick. ' 


St. Francis kissing the Foot of the Infant Jesus. uf - 
An emblematical subject on the Misfortunes of the __ 


Times: inscribed Tumultum adduxtt tempus. 
Justice and Peace; Justitia et Pax, &c. 
The Four Seasons. 1730. 
Four of the Signs of the Zodiac; 7. G. B. 1730. i 
Five figures of Women, emblematical of the Virtues, — 


BERGUNZONI, Lorenzo, who was born at ‘a 
Bologna in 1646, was first a scholar of Giovanni 


Battista Bolognini, but afterwards studied under 
Guercino. 


having painted the portraits of some persons of 
distinction at Bologna, he met with such encourage- 
ment, that he devoted himseif entirely to that 
department of the art in which he excelled. 
ERJOT, ANTOINE, a French flower and minia- 
ture painter, was born at Lyons in 1753, and died 
there in 1843. The Musée of that city possesses 
many of his works. 
BERKHEYDEN. See Berck-HEIsDE. 
BERKMANS, Henprix, a Dutch painter, born 
at Klundert, near Willemstad, in 1629. His first 
master was Thomas Willebort, under whom he 
studied some time. He afterwards became a 
scholar of J. Jordaens. On leaving that master, 
he painted some historical pictures which gained 
him reputation, but the encouragement he met with 
in painting portraits induced him to forsake a path 
which promised to lead him to celebrity. Such 
was the desire of possessing his portraits, that it 
was with difficulty he could fulfil his engagements. 
He painted the Count of Nassau, the Admiral de 
Ruyter, and many of the most distinguished per- 
sonages of his country. His best work is a large 


picture of the ‘Company of Archers,’in the town- a 


hall at Middelburg, where he died in 1690. 
BERLINGHIERI, Barong, was the son of Ber- 
lingherus, a Milanese, who was still living in 1250. 
He executed several painted crucifixes; amongst 
others one for the Pieve of Casabasciano, in 1254; 
and another in 1284 for Sant’ Alessandro Maggiore, 
at Lucca. He had two brothers. BONAVENTURA 
BERLINGHIERI is known to have painted several — 
panels and wall-paintings, at Lucca, in 1235 and — 
1244, as well as a ‘St. Francis of Assisi,’ painted 
in 1235 for the church of San Francesco, of Pescia, 
Marco BERLINGHIERI, known as a miniature painter, 
executed an Illuminated Bible, finished in 1250. 


BERLINGHIERI, C'amitto, was born at Fer- 


rara in 1596. He was the scholar of Carlo Bononi, 
and proved himself a very reputable painter of 
history. His works are chiefly at Ferrara and at 
Venice, where he was called ‘Il Ferraresino.’ In 
the church of San Niccold, at Ferrara, is a fine 


picture, by him, of the ‘ Miracle of the Manna,’ and — 


in Sant’? Antonio Abate, the ‘ Annunciation.’ He 
died at Ferrara in 1635. 

BERNA. See Barna. 

BERNABEI, Pizr Antonio, called DELLA Casa, 


a native of Parma, flourished about the year 1550. 4 


His first attempts were in historical Ee 
subjects, in which he had some success; but 


He was not a scholar of Parmigiano, as has been 
_ asserted, but was rather a follower of the style of 
Correggio. Although Orlandi contents himself 
_ with styling this excellent artist Prttor non igno- 
bile, his great work of the cupola of La Madonna 
del Quartiere proves him to have been one of the 
ablest fresco painters of his time in Lombardy. It 
represents a ‘Multitude of the Blessed,’ a grand 
composition, copious without confusion ; the figures 
designed in a Correggiesque style, with great 
relief, and a vigour of colouring which has still 
preserved its original freshness. There are other 
considerable works by this master at the Carmel- 
ites, and in other public places at Parma. 
BERNAERD, Nicaisz, a Flemish painter of 
animals and flowers, was born at Antwerp in 
1608, and was a scholar of Frans Snyders. The 
subjects of his pictures bear a great resemblance 
to those of his master, and it is certain that they 
have been sold as the genuine productions of 
Snyders. He went to Italy, and on his return 
settled in Paris, where his works were much ap- 
preciated. He was admitted into the Academy in 
1663, and died in 1678. There are two paintings 
by him in the Louvre, where he is called Nicastus. 
Zani places his birth in 1593, and his death in 1663. 
-  BERNAERTS, BatrHazar, (or BERNARD). The 
_ name of this engraver is affixed to several plates 
of biblical subjects, engraved from the designs of 
Bernard Picart, published at Amsterdam in 1720, 
They are executed in a very indifferent style. 

BERNARD, —,a Neapolitan painter, born in 
1680, was a scholar of Solimena, whose manner he 
_ studiously followed. He died in 1734. 

BERNARD, Jan, a copyist of Paul Potter and 
Berchem, born in 1765, died in 1833. He was a 
member of the Institute, and of the Academy of 
Fine Arts at Amsterdam. . 

BERNARD, L., a French engraver who flour- 
ished towards the close of the 17th century, has 
left us amongst others the’following plates: 

Portrait of Louis XIV.; after Poerson. 

Portrait of Sébastien le Prestre de Vauban; after De 


Troy. 
Shepherd with his flock; after J. Forest. 


BERNARD, SAmvEL, a miniature painter and 
engraver, the son of Noel Bernard, a painter, was 
born in Paris in 1615. He was ascholar of Simon 
Vouet and of Louis du Guernier, and made some 
attempts at fresco painting, but not succeeding to 
his expectation, he for some time painted minia- 
tures, but finally devoted himself entirely to en- 
graving. He became Professor of the Academy, 
and died in Paris in 1687. He engraved several 
plates, both in line and in mezzotint, of which the 
following are the principal: 

Charles Louis, Duke of Bavaria; after Van Dyck. 

Louis du Guernier, miniature painter. 

Philip, Count of Bethune. 

Anne Tristan de la Beaume de Luze, Archbishop of 

Paris; after De Troy. 

The Apparition of St. Peter and St. Paul to Attila; 

after Raphael. His best work. 

The Young Astyanax discovered by Ulysses in the 

Tomb of Hector; after Bourdon. 

The Crucifixion ; after Ph. de Champagne. 

The Virgin Mary, with the dead Christ; after the 

same. 

The Ascension ; after the same. 

An allegorical subject of Concord. 

The Flight into Egypt; after Guido. 


MEZZOTINTS. 
The Portrait of Louis XIV.; oval. 


PAINTERS AND ENGRAVERS. 


Sebastian, le Prestre de Vauban ; after F. de Troy. 
The Nativity ; after Rembrandt. | 

A Herdsman driving Cattle. 

An Ox Market ; after B. Castiglione. 

The Repose ; called La Zingara ; after Correggio. 


BERNARD, Tue Lirriz. See Satomon. 

BERNARD or BRUSSELS. See Ortey. 

BERNARD, Turoporr. See BARENTSEN, Dirk. 

BERNARDI, Francesco, called BiGoLARO, was 
a native of Verona, and a disciple of Domenico 
Feti. He painted historical subjects in the first 
half of the 17th century. 

BERNARDINO pa TREVIGLIO. See ZENALE. 

BERNARDINO pi BETTO. See Biagio. 

BERNARDINO pi GIROLAMO was a Friulan, 
who lived at Udine in the 16th century, and 
decorated the churches at Lestizza and Cormons 
with frescoes in 1511 and 1518. At the Town- 
hall of Udine, is a ‘Coronation of the Virgin,’ by 
him. No records remain to show the dates of his 
birth or death. 

BERNARDUS pve FLORENTIA. See Fioren- 
TIA, BERNARDUS DE. 

BERNASCONI, Lavra, or Lucia, a Roman 
lady, who was a scholar and imitator of Mario 
Nuzzi, better known as Mario de’ Fiori. Her 
works, like those of her preceptor, have lost much 
of their original beauty, owing to the use of some 
seductive, but treacherous, vehicle that gave bril- 
liancy at first, but in the lapse of years has changed 
to opacity, giving them a black ‘and squalid ap- 
pearance. The dates of her birth and death are 
not exactly stated, but she was living in 1674. 

BERNATZ, Martin, who was born at Speyer in 
1802, commenced to study art somewhat late in 
life, in the Academy at Vienna. He journeyed 
with Dr. Schubert to Palestine, Abyssinia, and 
elsewhere, and made many valuable views of the 
scenery, which he afterwards published in litho- 
graphy. He settled as a landscape painter at 
Munich, where he died in 1878. 

BERNAZZANO, CrEsARE, a Milanese painter, 
who flourished about the year 1536. He painted 
landscapes, animals, and fruit, in which he excelled, 
particularly as a colourist. The figures in his 
landscapes are generally painted by Cesare da 
Sesto, a scholar of Leonardo da Vinci, under whom 
Bernazzano himself is said to have studied. Won- 
derful things are related of this artist, parallel with 
the stories told of Zeuxis, Protogenes, Apelles, and 
other painters of antiquity. 

BERNETZ, CuristTIaAn, who was born at Ham- 
burg in 1658, and died in 1722, was a painter of 
still-life subjects. A picture by him is in the 
Cassel Gallery. 

BERNIERI, Antonio, who was born at Correggio 
in 1516, was first instructed by Allegri; on the 
death of that master he went to Venice, and at- 
tended Titian’s school. He visited Rome, and 
returning to Venice worked there until 1563. He 
died at Correggio in 1565. Bernieri was an 
eminent painter of miniatures. He is sometimes 
called ‘ Antonio da Correggio.’ 

BERNINGROTH, Jonann Marry, the son and 
pupil of Martin Berningroth, was born at Leipsic 
in 1713. He engraved several plates for the book- 
sellers, but he is best known as an engraver of 
portraits, neatly executed in the style of his father. 
He died at Leipsic in 1767. His principal works 
are: 

Frederick Augustus III. King of Poland. 

Frederick Christian, Prince Reg. Pol. 

123 


PSs, Tete me Re eet pian at eh 
; e iam ae Ck rete 


* 


x ka wis ni) 


gn 


: 


John Adolphus, Duke of Saxe- Weissenfeld. 
This is considered his best plate. 

Sebastian Felix, Baron von Schwannenberg. 

Christianus, Prince of Denmark. 

John Gottfried Richter, Antiquary. 

BERNINGROTH, Martin, a German engraver, 
born at Ramelsburg in the county of Mansfelden, 
in 1670. He resided at Leipsic, where he engraved 
a great number of portraits in a tolerably neat 
manner, among which are: 

Prince Leopold of Anhalt-Dessau, on horseback. 

Frederick Augustus II. King of Poland. 


He died at Leipsic in 1733. 

BERNINI, Giovanni Lorenzo, the sculptor and 
architect, was the son of Pietro Bernini, a Florentine 
painter and sculptor. He was born at Naples in 
1598 ; and occasionally practised the art of paint- 
ing. His own portrait painted by himself is in 
the Uffizi at Florence. He died at Rome in 1680. 
Milizia, in his Vite degli Architettz, gives a list of 
his works in sculpture and architecture. In France 
he is called ‘ Le Cavalier Bernin.’ 

BERNUIS, Barrotome pret Rio, a Spanish 
painter, was a scholar of Gaspar Becerra. He 
chiefly practised his art at Toledo, where he held, 
for the last twenty years of his life, 1607-1627, 
the post of painter to the Chapter. 

BERNYNCKEL, JoHANN, an engraver, whose 
works are little known. There is a small oval 
print by him of the ‘ Adoration of the Shepherds,’ 
after Johann von Aachen, which is not without 
merit. 

BERRAIN, Jean. See BERAIN. 

BERRE, Jean BAPTISTE, born at Antwerp in 
1777, painted subjects in the manner of Weenix. 
He afterwards settled in Paris, where his pictures 
are esteemed for their great finish and fine execu- 
tion. He died in Paris in 1828. 

BERRESTYN, C. V., a German engraver, who 
flourished about the year 1650. He engraved some 
plates of landscapes, among which is one repre- 
senting a woody scene, signed with his name and 
the above date. It is very scarce. 

BERRETTINI, Pirtr0, (or BERETTINI,) commonly 
called Pizrro DA CorTONA, was born at Cortona in 
1596. He was first instructed by Filippo Berrettini, 
his uncle, and afterwards by Andrea Commodi, 
whom he accompanied to Florence, and there en- 
tered the atelier of Baccio Ciarpi, where he devoted 
himself to the study of the antique, the reliefs 
of Trajan’s column, and the works of Raphael 
and Michelangelo. He resided for many years in 
Rome. The first productions of Berrettini that 
excited attention, were two pictures, painted whilst 
he was yet very young, for the Cardinal Sacchetti, 
representing the ‘Rape of the Sabines,’ and the 
‘Battles of Alexander.’ They attracted the notice 
of Pope Urban VIII, who commissioned him to 
paint a chapel in the church of Santa Bibiena, 
where Ciampelli, an artist of reputation, was at that 
time employed, and who regarded with contempt 
the audacity of so young a man venturing on so 
important a public undertaking; but Berrettini 
had no sooner commenced the work than Ciampelli 
was convinced of his ability. The success of that 
performance procured for him the commission for 
his celebrated work of the ceiling of the grand 
saloon in the Palazzo Barberini. It represents an 
‘Allegory of the History of the Barberini Family.’ 
The richness of the composition, the perfection of 
the chiaroscuro, the harmony of the colour, and 
the splendour of the style, render it one of the 

124 


1745. 


1 26 2 
7 
awk fs iene in} 


A BIOGRAPHICAL DICTIONAR 


most perfect specimens of decora 
been observed, that the drawing is n 
correct, and that the draperies have not th 
pearance of nature; but the acknowledged bea 
of this great work are so agreeable and seducti 
that it is impossible to contemplate it without — 
admiration. After having finished the cartoons ~ 
for some oil paintings for the mosaics of the — 


dome of St. Peter’s, Berrettini travelled through 
Lombardy, visited Venice, and returned to Rome, 
by way of Florence, where he was engaged by - 
the Grand Duke Ferdinand II. to paint the saloon 
and four apartments in the Palazzo Pitti; herehe 
represented the ‘Clemency of Alexander to the 
Family of Darius;’ the ‘ Continence of Cyrus ;’ 
the ‘Firmness of Porsenna;’ the ‘History of Masi- _ 
nissa;’ and other subjects. He did not entirely 
finish the works he had projected for the Grand _ 
Duke. Disgusted by the intrigues of some artists 
who were jealous of his reputation, he left Florence 
abruptly, and could never be prevailed on to return, 
His frescoes were finished by Ciro Ferri. On his 
arrival at Rome he continued to be loaded with 
commissions, and was employed by Alexander VII., 
who conferred on him the order of the Golden Spur. 
The works of Berrettini exhibit a most fertile in- 
vention and an uncommon facility of operation. — 
His figures are not designed with scrupulous cor- 
rectness, nor are the heads of his females strictly 
beautiful; but they have always a grace and love- 
liness that charm in spite of those deficiencies. If 
his colouring is not always chaste, it is agreeable, 
and possesses much of what the Italians call Vag- 
hezea. His powers were particularly adapted to 
the great works that require to be executed in 
fresco, to which he gave a brilliancy and force 
nearly approaching to oil painting. Berrettini 
died at Rome in 1669. His best disciples were 
Dandini, Ciro Ferri, Francesco Romanelli, Pietro —_ 
Testa, Luca Giordano, and Jacques Bourguignon. 
He was also an architect. 

The following is a list of his principal paint- 
ings: | 


Brussels. Museum. Marriage of St. Catharine. 
Cortona. SS. Agostino. Virgin and Saints. 
Dresden. Gallery. Mercury warning Aineas to 
hasten his departure from 
Carthage. : 
cs es A Roman General addressing — 
the consuls. he 
Dulwich. College. St. Martinatriumphingoverthe 
idols. 
Florence. OUffizt. Portrait of himself. 
3 Pittt Pal. Frescoes (see text). 
Hague Gallery. Holy Family. 
London. Devonshire H. Landscape. 
" Northbrook Col. Magdalene with Angels. 
Milan. Brera. Virgin with Saints. 
Munich. Pinakothek. | Woman taken in adultery. 
Paris. Louvre. Jacob and Laban. 
re 9 Birth of the Virgin. 
- _ St. Martina before Alexander 
Severus. 
ms Pe Virgin and Child & St. Martina. 
7 M Romulus and Remus. 
ab 5 Dido and Aineas. 
Petersburg.Hermitage. Holy Family. 
re es Christ and the Magdalene. 
Bs s: Martyrdom of St. Stephen. 
Rome, Barberini Pal. Allegory—fresco. 
Chiesa Nuova, Paintings on nave, dome, and 
; : tribune. 
ds ss poe Conversion of St. Paul. 
Vienna. Gallery. St. Paul and Ananias, 


Return of Hagar, 


” 99 


Marriage of St. Catharine, 
y»  Schénbrun Coll. Hercules, 


BERRETTONI, Niccotd. This painter was born 


¥ Vienna. Gallery. 


_ at Montefeltro, near Macerata, in 1637. He was the 


ablest scholar of Carlo Maratti, and painted his- 
torical subjects with skill. He was also influenced 
by Guido Reni and Correggio. One of his best 

ictures is an altar-piece in the church of Santa 

aria, in Monte Santo, in Rome, representing a 
subject from the life of St. Francis. He was re- 
ceived into the Academy of that city in 1675, and 
died in 1682. 

BERRIDGE, Joun, a pupil of Sir Joshua Rey- 
nolds, gained a prize at the Society of Arts in 
1766, ana exhibited portraits at the gallery of the 
Incorporated Society of Artists and at the Royal 
Academy between 1770 and 1785. 

BERRUGUETE, Atonso, an eminent Spanish 
painter, was born at Paredes de Nava, in Castile, 
in 1480. When he had made some progress inthe 
art, the fame of Michelangelo induced him to visit 
Italy, and he had the advantage of studying under 
that sublime master. He was the contemporary 
and friend of Andrea del Sarto, and made such 
improvement during his stay in Italy—both at 
Florence and Rome—that he returned to Spain 
eminently proficient both in painting and sculp- 
ture. He also excelled as an architect. He was 
the first artist who introduced the pure Italian 
style of the 16th century into Spain. The Emperor 
Charles V. took him under his immediate protection, 
appointed him one of his painters, and employed 
him in many considerable works at Madrid, in the 
palace of the Prado, and in the Alhambra of Gra- 
nada, He was also patronized by Philip II. He 
died rich, at Alcala, in the year 1561, and was 
buried with the greatest magnificence at the ex- 
pense of his sovereign. 

BERRUGUETE, Pepro, a native of Paredes de 
Nava, and painter to Philip I. In 1483 he was 
employed with Rincon, by the Chapter of Toledo. 
to paint the walls of the old ‘Segrario’ of the 
cathedral. He also painted the cloister in 1495, 
and the vestry in 1497. Cean Bermudez ranks 
him as a painter with Pietro Perugino, His 
earliest known works are supposed to be those 
which he painted in conjunction with one Santos 
Cruz for the high altar of the cathedral at Avila. 
Berruguete died at Madrid about 1500. 

-BERSENEYV, Ivan, a Russian engraver, born in 
Siberia in 1762. He was a scholar of Guttenberg, 
and afterwards of Bervic, at Paris; he executed 
several excellent plates, and died in 1790. 

St. John the Evangelist; after Domenichino, (Orleans 

Gallery.) 
The Tempter; after Titian. (Orleans Gallery.) 
The portrait of Katharina Nicolaevna Orloff. 


-BERTANO, Giovanni Barrista. See GHISI. 

BERTAUD, Marie Rosatig, a French engraver, 
was born in Paris in 1738. She was instructed 
in the art by St. Aubin and Choffard, and engraved 
several plates, the best of which are those after the 
pictures of Joseph Vernet, entitled : 

Orage impétueux ; an oval plate. 

La Pécheur 4 la ligne. 

Le Rocher percé. 

La Barque mise a flot. 

La Péche au clair de la Lune. 

Les Pécheurs Italiens. 


BERTAUX,Jran DUPLESSIS. See Dupizssis- 
BERTAUX. 


PAINTERS AND ENGRAVERS. 


BERTELLI, CrisTorano, an Italian engraver, a 
native of Rimini, in the Duchy of Modena, flourished 
about 1525. We have by him a few plates, exe- 
cuted with the graver in rather a stiff manner: 


The Portrait of Ottavio Farnese, Duke of Parma. 

The Conversion of St, Paul. 

The Virgin and Child, with St. Augustine, St. Sebas- 
tian, and St. Helena, with St. Joseph sleeping. 

The Virgin and Child, with St. George and other 
Saints. 

The different Ages of Man. p 

The Virgin and Child, with St. Sebastian, St. Francis, 
and St. Roch ; after Correggio. 


BERTELLI, Frerranpo, an engraver, was born 
at Venice about the year 1525. He engraved some 
plates after Venetian and other painters. By him 
we have: 

A print, entitled Omnium fere gentium, &c. Ven. 1569. 

hrist curing the sick; after Farinati. 1566. 

The Crucifixion ; after Giulio Romano. 

Venus and Cupid ; after Titian. 1566. 

Specchio della Vita Humana. 1566. 

BERTELLI, Luca. This engraver was pro- 
bably a relation of Ferrando Bertelli. He has 
engraved several plates after the great Italian 
painters, and is said to have been a printseller, 
Some of his engravings are very scarce. 

A Bust of Hippolita Gonzaga. 

The Israelites tormented by Serpents; after Michel- 

angelo. 

The Baptism of Christ. 

Christ washing his Disciples’ feet ; Lucas, sc. 

The Flagellation. 

The Crucifixion. 

The Descent from the Cross; fine. 

The Four Evangelists ; after Coxcyen. 

The Last Judgment; after J. B. Fontana. 

A Woman and Children warming themselves by a 

Fire ; after Titran. 

BERTERHAM, JoHAN BAPTIST, is an engraver 
whom Strutt has noticed under the two names of 
Berterham and Bexterham. He was a native of 
the Netherlands, and resided at Brussels at the end 
of the 17th and beginning of the 18th century. 
His principal works are after paintings by J. de 
Roore, N. Cortens, C. Eykens, and others, repre- 
senting the history of the Miraculous Host pre- 
served in the church of St. Michael and St. Gudule 
at Brussels. They are executed with much freedom 
and skill. | 

BERTHELEMY, Antoine. See BARTHELEMY. 


BERTHELEMY, Jean Simon, an _historical 
painter, who was born at Laon in 1743, was a 
scholar of Noel Hallé. He visited Rome, and 
painted, in addition to some histurical and poetical 
subjects, which have been engraved, the ceilings 
of the palace of Fontainebleau and the Luxem- 
bourg. He was a member of the Academy, and 
director of the School of Design. He died in 
Paris in 1811. 

BERTHOLD, Karu FERDINAND, born at Meissen 
in 1799, was a designer and etcher. He attended 
the Academy at Dresden in 1811, and was a scholar 
of Kigelgen. One of his best productions is the 
engraving entitled, ‘The good and bad effects of 
Wine.’ He died in 1838. 

BERTHOLOTTI, Anprea D1, called BELLUNELLO, 
of Cividale, flourished in the 15th century, and 
was a master in the Guild of San Vito in 1462. 
He seems to have contracted for altar-pieces and 
mural decorations, at Udine, San Vito, and the 
surrounding towns, up to 1490. At the Palazzo 


Communale of Udine is a Crucifixion, with yeRone 


A BIOGRAPHICAL DICTIONARY OF aaa 


Saints, dated by him in 1476. The sacristy of 
Santa Maria di Castello, San Vito, possesses by 
him a ‘ Virgin and Child, between SS. Peter and 
Paul,’ dated 1488; and in Savorgnano is a 
‘Madonna,’ signed and dated 1490. The dates of 
his birth and death are not known. | 

BERTHON, Rent THtopore, was born at Tours 
in 1776, and studied under David. He painted 
scriptural and historical subjects, and a large 
number of portraits, which, although of no great 
merit, gained him a certain reputation in the days 
of the first empire and the restoration. Among 
his portraits are those of Napoleon I. when First 
Consul, Pauline Bonaparte, Mlle. Duchesnois, and 
Lady Morgan. Several of his historical pictures 
are at Versailles. He died in Paris in 1859. His 
daughter, SiponizE BERTHON, a miniature painter, 
was a pupil of her father and of Mme de Mirbel. 
She was born in Paris in 1817, and died in 1871. 

BERTIN, Francois Epowuarp, born in Paris in 
1797, studied under Girodet-Trioson and Bidauld. 
He represented the details and general character of 
a landscape with great skill, but was less successful 
in his colouring. He was inspector of the Beaux 
Arts, and from 1854 director of the ‘Journal des 
Débats.’ He died in Paris in 1871. The following 
are some of his best known works: 

Cimabue meeting with Giotto. 

Christ on the Mount of Olives. 

A view of Olevano. 

The old Tombs on the Nile. 

The Forest of Fontainebleau. 

View of an excavated Monastery near Viterbo. 


BERTIN, Jean Vicror, a painter of historical 
landscapes, who was born in Paris in 1775, was 
a pupil of the celebrated Valenciennes, and was in 
turn the master of Michallon, Coignet, Boisselier, 
Corot, Enfantin, and others. Amongst his prin- 
cipal works may be cited : 

The Festival of Pan. 

The Offering to Venus. 

Cicero’s Return from Exile. 

The Flight of Angelica. 

The Festival of Bacchus, 

Arrival of Napoleon at Ettlingen. 

Many of his works will be found in the galleries 
at Versailles, and in other public collections. In 
the Louvre there is a ‘View of the Island of 
Pheenos with the Temple of Minerva.’ This artist 
is distinguished for the correctness of his design, 
the severity of his drawing, and his harmonious 
colouring ; but his style is somewhat mannered 
and conventional, He died in Paris in 1842, 

BERTIN, Marc. See Duvat. 

BERTIN, Nicotas, a French painter, was born 
in Paris about 1668. His father, a sculptor, died 
when Nicolas was but four years of age, and he 
was placed under the tuition of Jean Jouvenet, 
and afterwards studied under Bon Boulogne. His 
progress was rapid, and at eighteen he gained the 
first prize at the Academy, and was sent to Italy 
for improvement, where he remained four years. 
On his return to Paris he distinguished himself 
by some historical works, and was made an Acade- 
mician in 1703, and became professor in 1716. 
He was employed by Louis XIV. in the chateau 
of Trianon, where he painted ‘ Vertumnus and 
Pomona,’ and other works, but he excelled in 
cabinet pictures. He died in Paris in 1736. 

The following are his best works: 


1837. 


Amsterdam. Museum. Joseph and Potiphar’s wife (signed). 
9% Susannah at the bath (szgned). 
Dresden. 


Gallery. The Acorn and the Pumpkin. 
126 


56 * bee ee ie oe, 
Make a ara 1S 
‘ _ yp i! 
fc RE 


Dresden, Gallery. The Bear and the Amateur Gar- _ 

dener. ay 

St. Germain ) St. Philip baptizing the Eunuchof —_ 

des Prés.§ Queen Candace (the sketch forthis _ 
picture is in the Louvre). — 

Hercules delivering Prometheus. 


Paris. 


i Louvre. 


BERTINOT, Gustave, a French engraver, was 
born at Louviers (Eure), June 23, 1822. He was 
a pupil of Drolling and Martinet, and gained the 
‘Prix de Rome’in 1850. In 1867 he gained a medal 
of the first class and the Cross of the Legion. He 


succeeded Martinet at the Académie des Beaux . 


Arts in 1878. He died April 19, 1888. Among 
his best plates were portraits of Ingres, Cherubini, 
and Van Dyck, and the ‘ Vierge aux Donataires, 
after Van Dyck. ; 

BERTO pi GIOVANNI, a pupil of Perugino, 
painted at Perugia from 1497 to 1525. 
cuted works for the magistrates, and was a 
member of the guild of that city. He painted 
with a predella, in the convent of Santa Maria di 
Monteluce at Perugia, the following subjects from 
the Lite of Christ: ‘The Nativity,’ ‘The Present- 
ation,’ and ‘The Marriage’ and ‘Death of the ~ 
Virgin.’ These form part of a large work of the 
‘Coronation of the Virgin, which Raphael was 
originally commissioned to paint, but which was 
subsequently executed by an artist whose name 
has not been recorded. : 

BERTOJA, Jacopo, incorrectly GIAcINTO, (or 
BERTOGIA,) a native of Parma, painted historical 
pieces in the manner of Parmigiano; and his cabinet- 
pictures were, in his own time, much prized. He 
flourished in the later years of the 16th century. 
Zani tells us that he died in 1618, at a great age. 

BERTOLOTTI, Giovanni Lorenzo. According 
to Ratti, this painter was born at Genoa in 1640, 
and was a scholar of Francesco Castiglione. \ He 
painted historical subjects with considerable skill ; 
and his biographer speaks in very favourable terms © 
of a picture painted by him in the church of La 
Visitazione, at Genoa, representing the ‘ Visitation 
of the Virgin Mary to St. Elizabeth.’ He died 
in 1721. : 

BERTRAM, —, a Dutch engraver, who flour- 
ished about the year 1690. He engraved several 
plates, representing views and public buildings, 
which are executed in a very neat style. 

BERTRAND, JAmEs, a French painter, and native 
of Lyons, was one of the most distinguished of 
Perrin’s pupils. His subjects were chiefly poetical 
and mythological. Among pictures exhibited by 
him at the Salon we may mention: ‘The Com- 
munion of St. Benedict’ (now in the possession of 
the Société des Beaux Arts at Lyons), ‘The Con- 
version of St. Thais,’ ‘St. Mary of Egypt,’ ‘Peasants 
of the Abruzzi at St. Peter’s,’ ‘Phryne at Eleusis,’ 
and ‘The Death of Sappho.’ He died in Sep- 
tember, 1887. 

BERTRAND, Nort Francois, a French en- 
graver, who was born at Soisy-sous-Etiolles in 
1784, was a pupil of the younger Moreau and of 
David. He engraved in the chalk manner a large 
number of figures taken from the works of Raphael, 
Titian, Rubens, Poussin, Le Brun, David, and other 
great masters, besides some portraits of sovereigns 
and other distinguished persons. He died at Saint- 
Ouen in 1852. 

BERTRY, N. H. JEAURAT pr. See JEAURAT. 

BERTUCCI, Giovanni Batrista. See FAENzZA, 
G. B. pa, 

BERTUCCI, Jacopo, who is not to be confounded 


He exe- | 


with 


2 Giovanni Battista Bertucci, flourished at 
Faenza about 1530, and painted in the manner of 
Raphael. He is supposed to be the same as 
Jacopone da Faenza, who, Vasari tells us, painted 
in San Vitale at Ravenna. 

BERTUCCI-PINELLI, AnronI, was, according 
to Malvasia, a native of Bologna, and was instructed 
in art by Lodovico Carracci. She painted some 
pictures for the churches; among others, the ‘Guar- 
dian Angel,’ in San Tommaso; and ‘St. Philip and 
St. James,’ in the church dedicated to those saints. 
But her most celebrated performance is her picture 
of ‘St. John the Evangelist,’ in the Annunziata, 
painted from a design of Lodovico Carracci. She 
died in 1640. Her maiden name was Pinelli, but 
she married Giambattista Bertucci (not Giovanni 
Battista da Faenza). Zani places her death, and 
that of her husband, in 1644. 

BERVIC, CuarLEes CLEMENT, the most eminent 
of modern French engravers, was born in Paris on 
the 23rd of May, 1756. His family name was 
Balvay, but this he used only in legal documents, 
preferring to adopt as his usual signature that of 
Bervic, which was a surname of his father. His 
baptismal names were those of Charles Clément, 
which he bore in his youth and which are found on 
his earlier works, until, having need of his certifi- 


_ eate of baptism, he was astonished to see himself 


named therein Jean Guillaume, and to find himself 
obliged to rectify formally all the documents which 
he had executed in his accustomed names. Upon 
examination, however, of the parish registers, 
which at this period were deposited at the Hotel de 
Ville, it transpired that the duplicate copy sent 


to the Palais de Justice was in error, and that the 


names of Jean Guillaume assigned to Bervic in the 
latter were in reality those of/ the infant baptized 
before him. Nevertheless, through obstacles which 
arose in the rectification of his family papers, he 
never resumed his baptismal names. At a very 
early age young Bervic showed a decided taste 
for drawing: he amused himself by copying all 


>the prints which fell into his hands, and, although 


entirely without instruction, he succeeded fairly 
well. This led to his entering the studio of Jean 
Baptiste le Prince, where his talent rapidly de- 
veloped, and he grew ambitious of becoming a 
painter; but to this his father was averse, fearing 
that he might not attain to eminence in the art. 
However, by way of compromise with a passion 
which could not be subdued, he was allowed in 
1769 to become a pupil of Jean Georges Wille, one 
of the best line-engravers of the day. His earliest 
work is unknown, but the first plate to whick he 
put his name was that of ‘Le petit Turc,’ after 
P. A. Wille, which he completed in 1774. This 
engraving bears evidence of being the work of an 
inexperienced although not unskilful hand, and 
has the metallic lustre and other defects of the 
school of Wille. Marked progress was shown in 
his engravings of ‘La Demande acceptée’ and 
‘Le Repos,’ after Lépicié, and in his portrait of 
Sénac de Meilhan, after Duplessis, all of which 
were finished in 1783. The portrait of Sénac de 
Meilhan first revealed the power which Bervic 
possessed of freeing himself from the influences 
of his early education, and of rendering truth- 
fully and characteristically the varied details of 
his. subject. This talent soon met with its due 
reward, for in 1784 he was elected a member of 
the Academy, and requested to engrave for his 
reception a portrait of Count d’Angiviller; but 


PAINTERS AND ENGRAVERS. 


commencing soon after the portrait of the King, 
that of the Count was laid aside, and he never 
became an academician. 

The full-length portrait of Louis XVI. in his 
coronation robes, after the portrait by Callet at 
Versailles, established the reputation which Bervic 
had obtained by the wonderful brilliancy and soft- 
ness with which he reproduced in black and white 
the diverse tones and textures indicated in paint- 
ing by the aid of colour. Bervic kept pace with 
the revolutionary movement, and at one of the 
meetings of the ‘Société populaire des Arts’ broke 
the copper-plate of the king’s portrait, and tore in 
halves all the proofs of it which he possessed. 
The plate has since been skilfully repaired by 
Chollet, and later impressions taken from it. His 
next works of importance were ‘ The Education of 
Achilles by the centaur Chiron,’ after Regnault, 
and its pendant, ‘The Rape of Deianeira by the 
centaur Nessus,’ after Guido, the origifials of both 
of which subjects are in the Louvre. The latter 
gained the decennial prize awarded by the French 
Institute for the best engraving executed between 
the years 1800 and 1810. But Bervic’s master- 
piece is undoubtedly his plate of the renowned 
antique group of the ‘ Death of Laocoon and his 
two Sons,’ engraved for the Musée Frangais, in 
which he appears to have endeavoured to rival 
the ‘sufferimg marble, as it has been aptly 
termed, which the Rhodian sculptors Agesander, 
Polydorus, and Athenodorus seem to have ani- 
mated with the breath of life. Yet such was his 
modesty, that when his task was done he com- 
plained of having been able but partially to realize 
his aims. 

Sovereigns and nations hastened to do homage 
to Bervic’s talents. Louis XVI. gave him, in 
1787, the apartments in the Louvre which had 
been vacant since the death of the painter Lépicié. 
The order of the Reunion was conferred upon him 
in 1813, and the Legion of Honour in 1819. Most 
of the academies of Europe enrolled him among 
their members, and in 1803 he became a member 
of the Institute of France. Failing sight at length 
compelled him to lay down his graver, and the 
‘Testament of Eudamidas,’ a bust of Napoleon, and 
a half-length portrait of Louis XVIII., of which 
but three proofs exist, remained unfinished at the 
time of his death, which occurred in Paris on the 
23rd of March, 1822. He was twice married : first, 
in 1788, to Mile. Carreaux de Rozemont, a portrait 
painter and pupil of Madame Guyard, who died 
in the same year; secondly, in 1791, to Mlle. 
Bligny, who died in 1793. Bervic established a 
school of engraving, in which his constant aim 
was to warn his pupils against the baneful in- 
fluence of servile imitation, and to guide each one 
according to the bent of his own individual genius. 
Toschi and Henriquel-Dupont are the most cele- 
brated among his many scholars. The following 
are his most important works: 


St. John the Baptist in the Wilderness ; after Raphael. 
(Florence Gallery.) 

The Education of Achilles; after Regnault. 

The Rape of Deianeira; after Guido. 

The Laocoon ; after a drawing by Pierre Bwullon, from 
the antique. (Musée Frangais.) 

Innocence ; after Merimée. 

La Demande acceptée ; after Lépioté. 

Le Repos; after the same. 

Le petit Ture; after P. A. Wille. 

The Testament of Eudamidas ; after NV. Poussin. 
plate was finished by Toschi.) 


(This 


127 


1 ee aT gee... Oe ee 
he fat 


. e , ee 1 = * 


A BIOGRAPHICAL 


is XVI, whole-length ; after Callet. 
Nepaleee Le bust; after a drawing by Robert Lefebvre. 
(Never finished.) : : 
Louis XVIIL ; after Augustin. (Never finished 
Charles Gravier, Comte de Vergennes; after 


drawing. : aie 
Michel Lotellier ; after the ds Htc by Nanteuil. 
ter A. Roslin. 


Carl von Linné; a ' 
Price Ignacy Jacéb Massalski, Bishop of Wilna; after 


Kymli. ; 
Gabriel Sénac de Meilhan, Intendant of Hainault; 


J. S. Duplessts. 
ies ss R. BG. 


BESCHEY, BatruasaR, (or BesscHEY,) who was 
born at Antwerp in 1708, studied under Pieter 
Strick, an unimportant painter, but imitated the 
styles of Van Balen and of De Craeyer. In 1753 
he was admitted as a freeman of the Guild of 
St. Luke, and two years later became one of the 
six directors of the Academy in the above town, 
and in the year following that was elected dean 
of St. Luke. He died in 1776, at Antwerp, while 
holding the post of professor in the Academy of 
that city. He painted landscapes at the com- 
mencement of his artistic career, but confined 
himself in after life to sacred history and por- 
traiture. In the two latter branches of art he is 
well represented. His works display a taste for 
harmony, and are for the most part carefully 
executed, but are wanting in delicacy of colouring. 
The following may be mentioned : 


ie own 


Museum. Joseph sold by his brethren 
(stgned and dated 1744). 

Joseph viceroy of Egypt (stgned 
and dated 1744), 

Portrait of himself (stgned— 
presented by him to the Aca- 
demy of St. Luke tn 1763). 

Portrait of Martin Joseph Gee- 
raerts. 

A Flemish Family (signed and 
dated 1721). 

The Five Senses. An allegory. 
B. BESCHEIJ, 1733. 

The Five Senses. An allegory. 
B. BESCHEIJ. 


It has been recorded that Beschey had a son 
who was a painter, but this is a mistake. He had, 
however, three younger brothers who followed his 
profession, under his instruction, and one elder 
brother, who was a pupil of Goovaert’s. This last 
mentioned was CAREL BESCHEY, who was born at 
Antwerp in 1706. Then, after BALTHASAR, came 
JACOB ANDREAS BESCHEY, born at Antwerp in 1710, 
and still living in 1773. He also was ‘doyen’ of 
St. Luke. Next came JosepH HENDRIK BESCHEY, 
who was born at Antwerp in 1714; and lastly, Jan 
Francois BrscHEY, who was born in 1717, at 
Antwerp, where he established himself as a picture 
dealer, and became celebrated for the copies he 
made of the works of Rubens, Van Dyck, Teniers, 
Pijnacker, Moucheron, and other great masters. 
He was dean of the Guild of St. Luke in 1767. 

BESENZI, Paoto Emiuio, was born at Reggio 
in 1624. He distinguished himself as a painter, a 
sculptor, and an architect. Although the friend 
and companion of Lionello Spada, he differed from 
his style, preferring the graceful manner of Albani. 
His principal pictures, which establish his reputa- 
tion as a painter, are in the church of San Pietro. 
He died in 1666. 

BESOET, Jan, a Dutch engraver, was born 


Antwerp. 


Paris. Louvre. 


Petersburg. Hermitage. 


Pb) 39 


early in the 18th century, and died about 1769. : 


He engraved a large plate of the fireworks at the 
128 


Shep gui Se he aa ed ea ies Gig Re Ny are 
See ee Se ihe eee ON sa. 
a4 . a ae » wSA4 ih, M “pK 


: ~. 


DICTIONARY OF 


os 


Hague in 1748, and many portraits, book-plates, a 
and title-pages. _ hy en aga ates Sa 


BESOZZI, Amprocio, a painter and engraver, 


born at Milan in 1648. He was first ascholarof 
Gioseffo Danedi, and afterwards studied underCiro 


Ferri. He excelled in painting architectural views, 
friezes, basso-relievos, and other works of decora- 
tion. He died at Milan in 1706. Works by him 


are in the galleries and churches of Milan, Turin. 4 


and Parma. He etched two plates: | cas 
The Portrait of Correggio. | 


The Apotheosis of a Princess; in which the portrait — d 


was by Bonacina, and the other part of the plate by 
Besozzi; after Cesare Fiori. 


BESSA, Pancracz, a flower painter, was born 
in Paris in 1772. He was a pupil of G. van 


Spaendonck and of Redouté, and was flower ie 
painter to the Duchess de Berri, to whom he gave 


lessons, and to the Museum of Natural History at 
the Jardin des Plantes. He died at Ecouen about 
the year 1835. 

BESSON, Cartes JEAN BaprisTE, a French 
fresco painter and Dominican, was born near Besan- 
con in 1816. He was at first a pupil of Souchon, 
but upon going to Rome in 1835 he entered the 
studio of Delaroche. In 1839 he became connected 
with the celebrated Lacordaire, and in the follow- 
ing year entered the Dominican order, taking the 
name of Hyacinthe, but did not entirely abandon 
the practice of his art. He died at the convent of 
Mar-Yacub, near Mosul, in 1861. 

BEST, JEAN, a French wood-engraver, was born 
at Toul in 1808. He contributed largely to the 
success of the ‘ Illustration,’ as well as of the 
‘Magasin pittoresque,’ of which he was one of the 
proprietors. He was decorated with the Legion 
of Honour, and died in 1879. 

BESTARD (or BastarD), a painter of Majorca, 
lived at Palma about the end of the 17th century. 
He painted for the convent of Monte Sion there 
a superb picture, measuring 24 palms in length, 
and 15 in height, representing ‘ Christ in the Desert 
attended by angels; ’ it is considered as one of the 
marvels of the city. He also ornamented several 
other public buildings at Palma. 

BETTELINI, Pietro, an eminent Italian en- 
graver, was born at Lugano in 1763, and applied 
at an early age to the study of the art. He received 
instructions from Gandolfi and Bartolozzi; but in 
his subsequent works he inclined more to the style 
of Raphael Morghen. He died at Rome in 1828. 
He is particularly happy in his transcripts of light 
and elegant forms, and enters with much taste and 
spirit into the subject he copies. He does not aim 
at producing brilliant effects, but exercises his — 
graver with care and delicacy, corresponding with 
the style of the original picture. In those of a 
sombre or forcible character he is not equally suc- 
cessful. He was held in high estimation by Thor- 
waldsen, who employed him to engrave some of 
his finest works, both figures and bassi-rilievi. 
His engraving of the ‘ Entombment,’ by Andrea del 
Sarto, in the Florence Gallery, exhibits all the 
beauties of the original, and may be quoted, not 
only as his masterpiece, but also among the finest 
examples of art. The following are a portion of 
his justly esteemed productions: 

Entombment; after Andrea del Sarto. 

Madonna col devoto; after the painting by Correggto, in 

the possession of the King of Bavaria. 

Ecce Homo; after Correggio. 

St. John ; after Dombeieed 


PAINTERS AND ENGRAVERS. 


 Sibylla Persica; after Guercino. ; 
Ascension of the Virgin ; after Guido. 
Madonna and sleeping Infant; after Raphael. 
Judgment of Solomon ; after the same. 
Magdalene; after Schidone. 
Maria div. Sapientiz ; after Titian. 
The Virgin Mary reading a book ; after the same. 
Portrait of Galileo. 5 
Portrait of Macchiavelli. 
Portrait of Poliziano. 


BETTES, Joun, an eminent miniature painter in 
the reign of Queen Elizabeth, by whom he ways 
patronized. He was a pupil of Nicholas Hilliard, 
and painted the Queen’s portrait. He died about 
the year 1570. His brother, THomas BrrrsEs, was 
also a miniature painter as well as an illuminator. 

BETTI, Biacio. This painter was born at 
Carigliano in 1535, and was a disciple of Daniele 
da Volterra. He became, in 1557, a monk of the 
order of the ‘Padri Teatini,’ of San Silvestro, and his 
works are principally confined to the monastery of 
that order on the Quirinal at Rome. In the refectory 
he painted the ‘ Miracle of the Loaves and Fishes,’ 
which was restored by Anesi in 1847; and in the 
library, ‘Christ disputing with the Doctors.’ He 
died in 1605. ; 

BETTINI, Domenico. According to Orlandi, 
_ this painter was born at Florence in 1644. He 
_ was first a scholar of Jacopo Vignali, but after- 
_ wards went to Rome, and became a disciple of 
Mario Nuzzi. His pictures, which are well painted, 
represent, like those of his instructor, fruit, flowers, 
birds, and fish. 

BETTINI, Pierro, an Italian engraver of the 
17th century, who etched a few plates in a slight 
manner. By him, among others, we have: 

Christ appearing to Peter ; after Domenico Ciampelli. 

The Martyrdom of St. Sebastian ; after Domenichino. 

BETTO, BrerNARDINO DI (PINTURICCHIO). See 

B1aGio. 
' BETTOLI, Caszetano. The name of this artist 
is affixed to an etching representing the ‘ Death of 
St. Joseph,’ after Marc Antonio Franceschini. It 
is executed in a free, spirited style, and appears to 
be the production of a painter. 

BEUCKLAER (or BEUKELAAR). See BUECKELAER. 

BEUERLEIN, Hans, an old painter of Nurem- 
berg, highly praised by Neudorfer, painted a 
Crucifixion, on the wall of the Prediger Kloster in 
Nuremberg, now destroyed. He died about 1500. 

BEURS, WiLLEM, was born at Dordrecht in 
1656. He was a scholar of Willem van Drillen- 
burg, and painted landscapes, portraits, and flowers 
with some dexterity and skill. He also published 
works upon art. 

BEUSEKOM, Frans vAN, a Dutch engraver, 
flourished from about 1640 to 1650. He was 
principally employed by the booksellers in engray- 
ing portraits. Among others, he engraved that of 
Ant. le Brun, after a picture painted by Anselmus 
van Hulle. 

‘BEUTLER, Jaxos, a German engraver, who, 
according to Professor Christ, was a native of 
Ravensburg, flourished about the year 1593. The 
prints he engraved are generally very small, on 
which account he is ranked among the artists 
distinguished by the name of the Little Masters. 
He usually marked his prints with the initials of 
his name, J. B. As this mark was occasionally 
used by other German engravers, particularly Jacob 
Binck and Hans Burckmair, who lived about the 
same period, it requires great attention to distin- 
guish their works. 

K 


BEUTLER, Marrurias, See BEYTLER. 

BEVEREN, CHARLES VAN, born at Mechlin in 
1809, was instructed in the rudiments of art in the 
academy of his native city and at Antwerp. He 
settled in Amsterdam in 1830, subsequently visiting 


| Paris, Rome, and other cities of Italy, and dis- 


tinguished himself as a painter of history, genre, 
and portraits. He died at Amsterdam in 1850. 
The best known of his works are: 


The Confession of a Sick Girl (in the Pinakothek at 
Munich). 

Male Figure. A study (tn the Rotterdam Museum). 

The Vision of St. Ignatius, 

The Death of St. Anthony of Padua (in the church of 
Moses and Aaron at Amsterdam. His chef-d’euvre). 


BEVILACQUA. See Sauimpent, VENTURA. 

BEVILACQUA, Amproaio and Fiuipro, Milanese 
painters, were brothers and partners, and flourished 
at the end of the 15th century. They were em- 
ployed at the Palace and in the Duomo, and 
Ambrogio painted an allegory of Charity on the 
front of the Milan Poor-house in 1486. The ac- 
knowledged picture by him is a ‘ Virgin and Child 
between King David and Peter Martyr,’ in the 
Brera. See also VIGEVANO, AMBROGIO DA. 

BEWICK, Joun, a younger brother of Thomas 
Bewick, was born at Cherryburn, in the parish of 
Ovingham, in 1760, and in 1777 was apprenticed as 
a wood-engraver to his brother and Ralph Beilby, 
in Newcastle. He assisted in the cuts of ‘ Msop’s 
Fables,’ and drew and engraved illustrations for 
Goldsmith’s and Parnell’s Poems, as well as for 
‘The Looking Glass for the Mind,’ and ‘ Blossoms 
of Morality,’ published in 1796. He also made the 
designs for ‘Somerville’s Chase,’ but did not live to 
engrave them all. He died in 1795, at Ovingham. 
Though he was not so clever an artist as his more 
celebrated brother, many of the works of John 
Bewick deserve much praise. 

BEWICK, Tuomas, the eminent restorer of the 
art of engraving on wood, was born at Cherryburn, 
in the parish of Ovingham, about twelve miles 
westward of Newcastle, in 1753. At the age of 
fourteen he was apprenticed to Ralph Beilby of 
Newcastle, a copper-plate engraver. He might 
have had a master of more eminence, but he 
could not have had one more anxious to en- 
courage his talents, and to point out to him his 
peculiar line of excellence. It happened that 
Charles Hutton (afterwards the distinguished Dr. 
Hutton of Woolwich), then a schoolmaster at 
Newcastle, was preparing his great work on men- 
suration, and applied to Beilby to engrave on 
copper the figures for the work; he judiciously 
advised that they should be cut on wood, that each 
figure might accompany the proposition it was 
intended to illustrate. The young apprentice was 
employed to execute many of these; and the 
beauty and accuracy with which they were finished 
led his master strongly to advise him to devote his 
attention to the improvement of this long-lost art. 
At the expiration of his apprenticeship, Bewick 
spent a short time in London and in Scotland, and 
on his return to Newcastle, entered into partner- 
ship with Beilby. About this time, Thomas Saint, 
a printer of Newcastle, was at work on an edition of 
‘Gay’s Fables,’ and Bewick was engaged to furnish 
the cuts. One of these, the ‘Old Hound,’ obtained 
the premium offered by the Society of Arts for the 
best specimen of wood-engraving, in the year 1775 ; 
but the work was not published until 1779. His 
success in this and an edition of ‘Select Fables’ by 

129 


> ONS Pee ele eee 


fn 


A BIOGRAPHICAL DICTIONARY OF  — 


the same printer, induced Bewick to project the 
‘History of Quadrupeds.’ This work, after several 
years of preparation and labour, was published in 
1790. In the preparation he was encouraged and 
patronized by Marmaduke Tonstal of Wycliffe, 


whose museum of animals, both winged and quad-. 


ruped, living and dead, was very extensive. In 
the intervals of collecting materials for this work, 
Bewick was employed in engraving on copper 
the plates of natural history for a small quarto 
volume, entitled ‘A Tour through Sweden, Lap- 
land, &c., by Matthew Consett, the companion of 
Sir G. H. Liddell;’ ‘The Whitley large Ox’ 
(bred in Mull). From the moment of the pub- 
lication of the ‘ History of Quadrupeds,’ which 
passed through three editions in three years, 
Thomas Bewick’s fame was established. He sub- 
sequently, in conjunction with his brother John, 
supplied the woodcuts for the elegant edition of 
‘ Goldsmith’s Traveller and Deserted Village,’ and 
for ‘Parnell’s Hermit,’ both printed by Bulmer. 
These appeared in 1795, and were allowed to excel 
everything of the kind that had before been pro- 
duced. In 1797 was published the first volume of 
‘British Birds,’ for which Beilby furnished the 
written descriptions; the second volume, on ‘ Brit- 


ish Water Birds,’ devolved on Bewick alone, who |’ 


was assisted in the literary corrections by the Rev. 
Henry Cotes, vicar of Bedlington. These were 
followed by numerous illustrations of publications 
of the day, in which he availed himself of the 
talents of the several pupils whom he had in- 
structed, and who have since so eminently dis- 
tinguished themselves in the same line of engrav- 
ing; among these were Nesbitt, Harvey, Robert 
Johnson, Luke Clennell, Ransom, and Hole. Bewick 
was indefatigable, and the number of engravings 
he executed is almost inconceivable. One volume, 
edited by the Rev. T, Hugo, and published in 1870, 
contains impressions of upwards of 2000 wood- 
cuts. He was anearly riser; fond of indulging in 
rustic and athletic sports, which are so prevalent 
in the north; was warm in his attachments, and 
had some humorous peculiarities. He died, as he 
had lived, a truly honest man, near the Windmill 
Hills, at Gateshead, in 1828. There are several 
memoirs of his life, the best of which is, perhaps, 
that which is included in the ‘History of Wood 
Engraving,’ by John Jackson, who devoted to 
Bewick fifty pages of his book, illustrated with 
thirty engravings. 

BEWICK, Witttam, born at Harworth, Dur- 
ham, in 1795, came to London in early life, and 
became a pupil of Haydon, at whose request he 
made drawings of the Elgin Marbles for Goethe. 
In 1822 he sent a large picture of ‘The meeting 
of Jacob and Rachel to the British Institution. 
A few years afterwards Sir Thomas Lawrence gave 
him a commission to copy Michelangelo’s frescoes 
in the Sistine Chapel, and for three or four years 
he resided in Italy. He then settled in London 
for a few years as a portrait painter, until ill-health 
compelled him to retire into the country. In 1843 
he was one of the competitors for the decorations 
of the Houses of Parliament, and sent up a cartoon 
of ‘The Triumph of David.’ He died in 1866. 
(See ‘Life of William Bewick,’ by Thomas Land- 
seer, 1871.) 

BEXTERHAM. See Bertrruam., 

BEYER, Jan DE. See De Beer. 

BEYEREN. See BEIJEREN. 

BEYLBROECK, M., a Flemish engraver, who 

130 


mn a ‘Sa . \ 7 
Lal 9. Me eae mag 


~ 


ma f 


resided in England about the year 1713. — 


but stiff and formal, and without much effect. 


BEYTLER, Marruias, (BEITLER or BEUTLER,) 
was born at Augsburg about 1550. About 1582 — 
he was living at Anspach, where he distinguished __ 
The following works by 


himself as an engraver. 
this artist are now in existence: 


A little Book of Animals. 1582. ; 
Twelve plates, mostly representing Animals. 
A little Book of Roses, &c. 1582. : 
Eleven plates with different figures. 

Christ on the Cross. 


BEZ. See BASTIER DE BEz. 


BEZZUOLI, Guvserre, historical painter, was 
born at Florence in 1784. His principal works 
are found in his native town; at St. Remi,‘The 


Baptism of Clovis;’ in the Villani mansion, ‘A 
Madonna’ in fresco; in the Pitti Palace, ‘The 
Entry of Charles VIII. into Florence.” His own 
portrait is in the Uffizi. 


of Venus,’ and ‘Venus carrying off Ascanius, 
He died in 1855. 


BIAGIO, BERNARDINO (DI BETTO) DI, is commonly "i 
known as PINTURICOHIO (the ‘little painter,” aname / 


he acquired from the smallness of his stature, and 


which he, to some extent, adopted in order that 


he might be distinguished from a Bernardino of 


Perugia, a painter of no great merit); he was — 


also called SorDIccHIO, either because of deafness, 
or of his corpulency. His father’s name was 
Benedetto Biagio, and hence he was sometimes 
called Bernardino di Betto. He was born at Pe- 


rugia in 1454. He was an assistant, and probably — 4 


also the pupil, of Pietro Perugino, with whom, 
according to Vasari, he worked in the Sistine 


Chapel. Amongst his earliest paintings were some 


frescoes in Santa Maria del Popolo, executed for 
Cardinal della Rovere. He was employed by 


Innocent VIII. to paint frescoes in the castle of — 


Sant’ Angelo, and the walls in-the Belvedere (now 
known as the Museo Clementino), and by Alex- 


ander VI. todecorate the AppartamentoBorgiain the — r 


Vatican. He decorated six rooms, in one of which 
the frescoes were destroyed by Leo X. to make 
way for works by Giovanni da Udine and Perino 
del Vaga. ‘The other five, however, remain intact. 
Pinturicchio also painted frescoes representing the 
‘Life of St. Bernard of Siena’ in the Cappella 
Bufalini in Santa Maria Ara Cceli, and various 
frescoes in Santa Maria del Popolo, While at 
Rome, in 1491, he was called to Orvieto to decor- 
ate the cathedral of that town, but of the works 
which he then executed only much-damaged frag- 
ments remain. In 1496 Pinturicchio went from 
Rome to Perugia and executed many good works. 
In 1500—1501 he painted frescoes, representing 
the ‘ Annunciation of the Virgin,’ and ‘ Christ dis- 
puting with the Doctors,’ in the cathedral at 
Spello. He next painted ten subjects from the 
‘ Life of Enea Silvio Piccolomini’ (afterwards Pius 
II.)—his best and most famous work—#in the 
library of the cathedral of Siena. 


from Raphael in the general design and the out- 
line ; this work occupied him, with various inter- 
ruptions, from 1502 till 1507. The last known 
work by this master is the ‘Christ bearing the 
Cross,’ in the Casa Borromeo, at Milan, painted in 


een: : 
: oct a - 
“He 'én--% 
graved a plate representing the ‘Death of Dido,’ 
after Sébastien Bourdon, which is neatly executed, 


In these fres- 
coes he is supposed to have received assistance 


a 


In the Borghese Palace ~ 7} 
at Rome are two ceilings, representing ‘The Toilet _ 


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AENEAS PICCOLOMINI ON HIS WAY TO 
THE COUNCIL AT BASEL 


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1513; in which year Pinturicchio died at Siena 
of starvation and neglect, deserted, it is said, in 
his illness by his heartless wife Grania. Pinturic- 
chio was a very prolific artist, and left many works, 
all executed in the old-fashioned tempera, for he 
never mastered the art of oil painting. He was 
fond of landscape backgrounds, but they are over- 
crowded, and his paintings are loaded with too 
much gilding and architectural ornamentation to 
be in good taste; with all these faults, he was one 
of the best masters of the Umbrian school. 

To the above-mentioned works may be added 
the following : 


Assisi. 8. Mary Angeli. God the Father. 

Berlin. Museum. St. Augustine, St. Benedict, and 
St. Bernard (formerly ascribed 
to Perugino). 

= A Reliquary. 
Gallery. Portrait of a Boy. 

Nat. Gall. St. Catharine of Alexandria. 

The Madonna and Child. 

The return of Ulysses to Penelope. 
(4 fresco transferred to canvas ; 
formerly inthe Petrucci Palace, 
Siena, painted about 1509.) 

Madonna and Child between St. 

: Gregory and another Saint. 

Perugia. Accademia. The Virgin between SS. Jerome 

and Augustin (painted in 1498 
Sor the convent of Santa Anna, 
Perugia) 


Dresden. 
London. 


” ” 
99 9 


Paris. Louvre. 


Rome. Vatican. Coronation of the Virgin (painted 
about 1500). 

Siena. Academy. Virgin enthroned with Saints 
(painted about 1501). 


There are two important frescoes by him in 
the Sistine Chapel, at one time attributed to 
Perugino, fragments of fresco in the Penitenzieri 
Chapel, decoration in the Colonna Palace, a 
fresco in the Capitol, and fragments. of work in 


the Castle of Sant? Angelo, all in Rome. 


(See ‘ Pinturicchio,’ by E. M, Phillipps, London, 
1901.) 

BIAGIO, MarrIno (DI BARTOLOMMEO) DI, was the 
son of Bartolommeo di Biagio, a goldsmith of Siena, 
and a contemporary of Taddeo Bartoli. His name 
appears in the roll of the Guild of the Sienese 
painters, in 1389, but his first known work is in a 
church at Cascina, which is now desecrated. There 
will be found a series of frescoes representing the 
‘Virgin and Child,’ between SS. Catharine and 
Agatha, life-sized figures of the Saints, colossal 
figures of the Virtues, and scenes drawn from the 
life of the Virgin, with a ‘ Crucifixion,’ that is dated 
1396. He seems to have remained in Pisa up to 
1404, having painted in 1403 a ‘ Virgin and Child, 
between Saints,’ that is now in the Hospital of 
Santa Chiara, in that city. In 1405 and 1406 
Martino decorated the three chapels of San Cres- 
cenzio, San Savino, and San Niccold, in the Duomo 
of Siena. In 1407 he aided Spinello to decorate 
the Sala di Balia, Siena, where his part was the 
ornamentation of the ceiling with allegorical half- 
figures of the Virtues. He was appointed umpire 
in the valuation of Taddeo Bartoli’s paintings in 
the Chapel of the Palace of Siena, and seems to 
have filled several offices in the government of the 
city between the years 1410 and 1428. His death 
probably occurred in 1433. 


Asciano. Boniche Coll Madonna and Child. Strgned m 
1408. 
Marriage of St. Catharine. 1403. 


Madonna witb Saints (three). 
K 2 


Pisa. 
Siena. 


Academy. 
Academy. 


PAINTERS AND ENGRAVERS. 


BIAGIO VINCENZO DI, commonly called CaTENna, 
possibly from a partiality for jewellery, was born 
probably at Treviso, and flourished towards the 
close of the 15th and the beginning of the 16th 
century. He was a painter of no great origin- 
ality ; he studied at Venice under Bellini, whose 
influence is perceptible in his works; and he was 
also an imitator of Giorgione. Catena painted 
portraits with skill, and was also much esteemed 
for his easel pictures of historical subjects; he 
was employed in decorating the churches of 
Venice, some of which still contain works by his 
hand. His will, dated 1531, proves him to have 
been alive in that year, but we have no later 
record of him. The following are a few of his 
works: 


Berlin. Musewn. Madonna and Saints and donor. 


os - Portrait of Count Raimund Fugger 
(one of his best works). 

Dresden. Gallery. Madonna with Saints. 

Liverpool. Znstitution. Madonna and donator (ascribed to 
him by Crowe and Cavalcaselle). 

London. Jat. Gail. Warrior adoring the Infant Christ. 

= * St. Jerome in his study. 

Padua. Com. Gal. Presentation in the Temple. 

Paris. Louvre. Reception of Ambassadors. 

Petersbrg. Hermttage. Virgin and Child with SS. Peter 
and John the Baptist. 

Venice. Ducal Pal. Madonna and Saints. 

” S. Simeone. The Holy Trinity. 

BIANCHI, Batpassargz, was born at Bologna in 
1614. He was first a scholar of Giovanni Paderna, 
but afterwards studied under Agostino Mitelli, with 
whom he painted prospective pieces at Sassuolo, 
He passed the greater part of his life in the em- 
ployment of the’ dukes of Modena and Mantua, 
whose palaces he ornamented with a large number 
of his paintings. He also decorated the theatres of 
Modena and Mantua. He died at Modena in 1679. 
Orlandi states, that he had a daughter, LuckEz1a 
BIANCHI, who also distinguished herself in the art. 

BIANCHI, FEpErI«G0, a Milanese, was a scholar, 
and subsequently son-in-law, of Giulio Cesare 
Procaccini. Orlandi reports that at the early 
age of seventeen he painted three works in fresco, 
in the cloister of the monastery of the Padri 
Zoccolanti, at Milan. Several other works by 
this master were in the churches of that city. He 
was greatly patronized by the duke of Savoy, who 
held his talents in high estimation, and honoured 
him with the title of ‘Cavaliere,’ and a gold chain 
and medal. He flourished in the 17th century. 

BIANCHI, Francesco, (or FRANCESCO DEL BI- 
ANCHO FERRARO,) called IL FRARE, was born, ac- 
cording to Vidriani, at Ferrara in 1447. Modena 
is also mentioned as the place of his birth. His 
works were much esteemed in his time, and are 
said by Vidriani to have been gracefully designed, 
and painted with a fine impasto of colour. He 
also gives him the credit of having been the 
instructor of Correggio. He died in 1510. His 
works are now rarely seen. The Louvre possesses 
a ‘Virgin and Child enthroned with two Saints,’ 
and the Modena Gallery an ‘Annunciation of the 
Virgin,’ and other works. 

BIANCHI, Giov. Paoto. See BLANcus. 

BIANCHI, Istporo, called ‘da Campione,’ was 
a native of Milan, and flourished about the year 
1626. He studied under Pietro Francesco Mazzu- 
chelli, and was one of the ablest followers of his 
style. He excelled in fresco painting more than in 
oil, as is evident in his works in the church of Sant’ 
Ambrogio at Milan, and in different churches at 
131 


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A BIOGRAPHICAL DICTIONARY uF . 


Como. He was chosen by the Duke of Savoy to 
finish a grand saloon at Rivoli, which had been 
commenced by Mazzuchelli, and was left unfinished 
at his death. He was afterwards made painter to 
the Court, and was knighted in 1631. 

BIANCHI, Orazio, was born at Rome, and, 
according to Abate Titi, was a painter of history 
of fair merit. His best work was the ‘ Marriage 
of St. Joseph and the Virgin Mary,’ in the church 
of San Gioseffo at Rome. 

BIANCHI, Pao.o, an artist chiefly employed in 
engraving portraits for the booksellers, flourished 
about the year 1670.. His plates are neatly exe- 
cuted with the graver, but in a stiff, tasteless style. 
He engraved some of the portraits for Priorato’s 
‘History of Leopold,’ among which are: 


Cardinal Flavio Chigi, nephew of Alexander VII., and 
Luigi de Benevides Carillio. 


BIANCHI, Pierro, This painter was born at 
Rome in 1694, and was a scholar of Benedetto Luti 
and Baciccio. He acquired considerable celebrity 
as a painter of history, portraits, landscapes, and 
animals. Among his most esteemed performances 
are a ‘St. Clara,’ at Gubbio, and a picture of the 
‘Conception,’ in the church of Santa Maria degli 
Angeli, at Rome, of which a mosaic copy is in a 
chapel of St. Peter's. He died in 1740. 

BIANCHI, Sepasriano, an Italian engraver, 
flourished about the year 1580. He produced 
some plates of devotional subjects, which are exe- 
cuted with the graver in a very indifferent style. 
Among others is a print representing the ‘Emblems 
of our Saviour’s Sufferings, with Angels,’ &c. 

BIANCO, BaRrToLomMEo, distinguished himself 
as an architect, engineer, and painter. He was 
born at Florence in 1604, and in 1612 he studied 
painting under Biliverti. In 1620 he visited Ger- 
many; on his return he decorated several houses, 
and painted for churches and theatres. In 1656 
he went to Spain to paint scenes for theatres. He 
died at Madrid in the same year. 

BIANCUCCI, Paoto, was born at Lucca in 
1583, and. was, according to Lanzi, a distinguished 
scholar of Guido, whose graceful and delicate style 
he followed. His works bear a near resemblance 
to those of Sassoferrato. Of his best pictures may 
be noticed, a representation of ‘ Purgatory,’ which 
he painted for the church of the Suffragio, and an 
altar-piece of several Saints for San Francesco. 
He died in 1653. 

BIARD, Pierre, born in Paris about 1559, was a 
sculptor, architect, painter, and etcher. He studied 
at Rome, and died in Paris in 1609. He etched 
amongst others a spirited plate with two eagles 
and foliage. 

BIARD, Pierre, ‘the younger,’ born in Paris 
between the years 1592 and 1594, was an architect, 
sculptor, painter, and engraver. He was the son 
of Pierre Biard, who is best known as a sculptor. 
He studied in Italy, and executed as an engraver 
74 etchings, representing allegorical and mytho- 
logical subjects, after Raphael, Michelangelo, and 
Giulio Romano. Though his design is deficient, 
he worked with a fine point. He died in Paris 
in 1661. 

BIBIENA. See GALLI. 

BICCI, FAmMILy OF THE. 

Lorenzo DI Biccr is the eldest member of a 
family of painters at Florence, about whom Vasari 
is somewhat confused. To Lorenzo di Bicci he 
attributes many works which have since been 

132 


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proved to be by the hand of his son, Bicci di 
Lorenzo. Of Lorenzo di Bicci all we know is 
that he was a painter; and though his name 
occurs as such in records at intervals from 1370 


| to 1398, no authentic work by him is in existence. — 


Bicct D1 Lorenzo, painter and sculptor, the son 


of Lorenzo di Bicci, was born in 1373. He mar- a 
ried in 1418, and in 1424 was registered in the _ 
He was constantly ~ 


Guild of Painters at Florence. 
employed in decorating churches in that city and 


the neighbourhood, and we find his name recorded __ 


at frequent intervals from 1420 to 1452, in which 


year he died at Florence, and was buried in the 
Vasari, who confuses the Bicci, ascribes 
to Lorenzo di Bicci those works which are now _ 


Carmine. 


given on good authority to the son, Bicci di 
Lorenzo. Amongst Bicci’s works may be men- 
tioned ‘SS. Cosmo and Damian,’ in the Uffizi, and 


frescoes representing the ‘Dedication of the 
Church by Pope Martin V.,’ in Santa Maria Nuova 
(now Sant’ Egidio), in which church he also exe- — 


cuted some figures in terra cotta. 


NerI DI Bicct, the son of Bicci di Lorenzo os 
(and not, as Vasari says, of Lorenzo di Bicci), was 


a Florentine painter of no great merit, who 
flourished in the 15th century. He was a most 


indefatigable worker, and his pictures are seenin _ 


the galleries and churches of Florence, His 


masterpiece is ‘St. Giovanni Gualberto enthroned, __ 
-with ten Saints,’ in the old church of San Pan- 
(For further information concerning the — ~“ 


crazio. 
Bicci, see Crowe and Cavalcaselle’s ‘ History of 
Painting in North Italy.’) 

BICHARD, —, a French engraver, who flourished 
about the year 1760, engraved some plates repre- 
senting tombs and buildings, from the designs of 
G. M. Dumont. 

BICKART, Jopocus, flourished at Mentz about 
1650—1672. He was a painter, and one of the 
earliest engravers in mezzotinto; but his works 
are very rare. The following are the best known: 


A portrait of an old Man. 
A portrait of John Philip, Elector of Mentz. 
A portrait of an old Man reading. 


BICKER. See MIEL. 

BICKHAM, Geora@s, an English engraver, was. 
chiefly employed in engraving plates of writing, 
in which he excelled. He died in 1769. We have 
a few portraits and copies of paintings by him, 
but indifferently executed—among others the fol- 
lowing: 


George Shelly, a writing-master ; after his own design, 
1709. 


John Clarke, also a writing-master. 

Robert More, another writing-master. 

Sir Isaac Newton, with emblematical ornaments; G. 
Bickham, senior, scul. 1752. Sold by John Bickham, 
engraver. 

Peace and War; after Rubens. 

The Gold and Silver Age; after Rubens. 


BICKHAM, Groras, ‘the younger,’ the son of 
the engraver of the same name, was not more 
distinguished in art than his father. He engraved 
many of the humorous plates published by Miss 
Bowles, as well as the portraits of his father and 
himself in a kind of frieze, representing a view 
of ‘Newmarket Race-course.’ He died in 1849. 

BIDAULD, Jzan JosEPH XAVIER, a French land- 
scape painter, was born at Carpentras in 1758. He 
was educated by his brother, JEAN PIERRE XAVIER 
BIDAULD, a painter of landscapes and natural his- 


PRANCESCO BIANCHI 


Neurdein photo | [Louvre, Paris 


THE MADONNA WITH ST. BENEDICT 
‘ AND ST. QUENTIN 


tory, who was born at Carpentras in 1745, and 


died at Lyons in 1813. He obtained a medal 
at the Salon of 1812, and was named member of 
the Institute in the room of Prud’hon, 1823, He 


- executed a great number of views of Italy, and 


exhibited during the years from 1791 to 1844. 
Three landscapes by him are in the Louvre. One 


is a view of Subiaco, another represents Avezano 


pieces. 
‘the Rhine, in a most beautiful manner. 


—both painted in 1789; the third bears date 1793. 
He died at Montmorency in 1846. 

BIDERMANN, Jonann JAcos, born at Winter- 
thur, Switzerland, in 1762, was instructed by A. 
Graff, at Dresden. He travelled considerably, and 
eventually settled at Constance in 1804, and painted 
both in water-colour and oil, mostly small land- 
scapes, with figures and cattle, and often views in 
Switzerland, as well as portraits and conversation- 
He etched eleven plates of Eglisau on 
He died 
at Constance in 1828. 

BIE, Dz. See De Bir. 

_ BIELBY, W., topographical draughtsman, flour- 
ished towards the end of the 18th century, and 
painted some of the views engraved in Angus’ 
‘Seats of the Nobility and Gentry,’ published 1787. 
Some views of Chelsea and Battersea by him were 
engraved in aquatint by Jukes. 

BIERSTADT, Aupert, a landscape painter, 


was born at Solingen near Dusseldorf in 1830, of 


American parents, and taken back by them to 
America when twelve months old. In 1843 he 
came over to Dusseldorf to study art, and remained 
in Germany for three years. After that time he 
returned again to the States, and accompanied 


the expedition sent to explore the South Pass of 


the Rocky Mountains, and during this expedition 
he made a great many sketches and completed 
some fine pictures of the scenery. He became a 
member of the National Academy, had one of his 
chief works placed in the Capitol at Washington, 


and was also granted the Legion of Honour for the 


pictures which he exhibited in the Salon. He 
confined his attention almost entirely to landscape 
work, and usually only represented scenes in the 
United States. He died at the age of seventy-two, 
in 1902. 

BIEVRE, — ps, an engraver who flourished 
about 1766, produced a few portraits, among which 
is that of Caroline Matilda, Queen of Denmark. 

BIEZELINGEN, CuristT1aan JANS VAN, a Dutch 
portrait painter, was born at Delft in 1558. This 
artist painted from memory a portrait of William 
I., Prince of Orange, after his assassination by 
Gerards, as well as a portrait of the latter while 
in prison. He spent several years at the Spanish 
Court, where he was well employed. He died at 
Middelburg in 1600. 

BIFFI, Carto, a Milanese historical painter and 
etcher, born in 1605, was a pupil of C. Procaccini. 
He died in 1675. 

BIFFIN, Sarau, was born at East Quantoxhead, 
near Bridgewater, Somerset, in 1784, without hands 
or feet. She was first instructed by an artist of the 
name of Duke, with whom she resided the greater 
part of her life. After some time the Earl of Morton 
made her acquaintance, and was so much interested 
in her, that he had her instructed by W. M. Craig, 
one of the best miniature painters of the day, under 
whose instruction she improved so rapidly that in 
the year 1821 she received a medal from the 
Society of Arts. She was patronized by George 
III., George IV., William IV., Queen Victoria, 


PAINTERS AND ENGRAVERS. 


and several other distinguished personages. In 
her old age she was rather reduced in circum- 
stances, but a small annuity was purchased for 
her, on which she was able to live comfortably till 
her death, which took place at Liverpool in 1850. 

BIGARI, Virrorio, was born in 1692, at Bologna, 
and his works are to be met with in almost every 
public edifice in that city. In the church of the 
Madonna del Soccorso is an admired picture by 
him of the ‘ Virgin Mary and Infant Jesus, with St- 
Petronio and other Saints.’ In the Palazzo Aldro- 
vandi he painted a gallery, in which he represented 
the principal transactions of that noble family. 
His works are mentioned in favourable terms by 
Zanotti in the ‘Pitture di Bologna.’ He died in 
1776. His sons, Giacomo and ANGELO, were also 
painters. 

BIGG, WiLi1Am Repmorg, who was born in 1755, 
was admitted a student of the Royal Academy in 
1778, became an associate in 1787, and an Acade- 
mician in 1814. His pictures were generally of 
simple subjects, appealing to the domestic sym- 
pathies; they were painted with considerable 
power. His ‘Shipwrecked Sailor Boy,’ ‘Boys 
relieving a Blind Man,’ ‘ Black Monday,’ and others 
of like character, have been engraved. He died 
in London in 1828. 

BIGI, FRANcEsco (DI CRISTOFANO), commonly 
known as FRANCIABIGIO or FRANCIA BIGIO, was 
born at Florence in 1482. He studied first at the 
Brancacci Chapel, but in 1505 he became acquainted 
with Andrea del Sarto, and studied for some time 
with Albertinelli, He seems to have devoted 
much of his time to portrait painting, many ex- 
amples of which can be seen in England, and on 
the continent. Frescoes by him, although now 
much injured by damp and the effects of time, are 
at San Giovanni Battista della Calza, and at Santa 
Maria de’ Candeli, at Florence. In the court of 
the convent of the Servi there is a ‘ Marriage of 
the Virgin and St. Joseph,’ of which the following 
story is told: The fresco was all but finished, and 
the screens were still around it, when a solemn 
feast day of the Order arrived, and some of the 
monks undertook to uncover it on their own re- 
sponsibility. This so enraged Bigi, that he seized 
a mason’s hammer and struck out the heads of 
the Virgin and of some of the other figures; 
nor could threats or entreaties prevail on either 
Bigi or any of his fellow-artists to replace them ; 
and thus mutilated it still remains. Bigi 
died at Florence in 1525. 

The following list contains a few of his 
most celebrated works: 


Museum. Portrait of a man ( formerly ascribed 
to Sebastiano del Piombo). 


Berlin. 


9 3) 


Portrait of a young man. 

Bathsheba bathing (with monogram, 
and dated MDXII11). 

Portrait of a youth (with monogram, 
and dated MDXIII1). 

Calumny of Apelles. 

Madonna del Pozzo. 

Temple of Hercules. 

Also important frescoes in the 
Chiostro Scalzo, SS. Annunziata 
and La Calza. 

London. Nat. Gal. Portrait of a young man (signed with 

the accompanying monogram, and 

inscribed TAR: VBLIA: CHI: BIEN: 

EIMA). 


Dresden. Gallery. 
Florence, Pitti Pal. 


9 
» Uffizi. 


” ” 


133 


ie 


ei i PPT a 
A BIOGR. 
London. Yarborough C. Half-length of a man at a 
window (dated MDXVI1). 
Gallery. Annunciation. 
Castle. Portrait of the Factor of Pier 
Francesco de’ Medici. 


BIGNON, Francois, a French engraver, who 
was born in Paris about the year 1620. He was 
principally employed on portraits, which he gener- 
ally executed with the graver, though he occa- 
sionally called in the assistance of the point. His 
style is neat, but there is a want of harmony in 
the effect of his prints. Some of his portraits are 
ornamented with borders, with small emblematical 
figures, &c. We have by him. 

St. Margaret; after NV. Poussin. 

Thirty-three Portraits of the Plenipotentiaries as- 
sembled at the Peace of Miinster; after Z. Heince. 
Publishedin 1648. 

Twenty-seven Portraits of illustrious Frenchmen ; after 
the pictures by Z. Heince in the gallery of Cardinal 
Richelieu. Published in 1650. 

BIGORDI Famity, THE. 


TOMMASO BIGORDI. 


Turin. 
Windsor. 


CS a eee et 
Domenico diTommaso Davide diTommaso Benedetto di Tommaso 
(1449—1494). (1452—1525). (1458—-1497). 


Ridolfo di Domenico 
(1483—1561). 


Michele di Ridolfo : 
(fi. ab. 1568). 

BIGORDI,. BENEDETTO (DI Tommaso), called also 
BENEDETTO DEL GHIRLANDAIO, was a brother and 
pupil of Domenico, and was born at Florence in 
1458. He frequently assisted his brother in his 
works, and completed some which he left un- 
finished at his death. Benedetto was also known 
as a miniature painter. He died at Florence in 
1497. The following are his principal works: 


Berlin. Museum. Resurrection of Christ (executed in 


conjunction with Davide, after the 

design of Domenico Bigordi), part 

of an altar-piece painted for Santa 

Maria Novella, Florence. 
Florence. 8S. eg Sh Tuc 


Paris. Louvre. Christ bearing the Cross, 


BIGORDI, Davips (p1 Tommaso), or DAVIDE DEL 
GHIRLANDAIO, who was born at Florence in 1452, 
was chiefly employed in assisting his brother 
Domenico; and, with Benedetto, completed some 
of his unfinished works. Davide also practised as 
a mosaicist at Orvieto, Siena, and at Florence, 
where he died in 1525. 

BIGORDI, Domenico, whose full name seems 
to have been Domenico di Tommaso Curradi di 
Doffo Bigordi, is generally called GHIRLANDAIO (or 
in the Florentine dialect GRILLANDAIO, in which 
manner he sometimes signed his works), or ‘The 
Garlandmaker,’ an epithet probably derived from 
his father’s profession. He was the son of a gold- 
smith and broker in Florence, and was born there 
in 1449. Inhis early years he probably followed his 
father’s business, but afterwards entered the studio 
of Alessio Baldovinetti, and became one of the 
most distinguished artists of his time—both as a 
mosaicist and a painter. His design was more 
correct and graceful than was usual in his time, 
and the expression of his heads is superior to that 
of any painter who had preceded him. His earliest 
remaining frescoes are those in the Church and 
Refectory of Ognissanti, which are dated 1480, and 
represent St. Jerome, and the ‘Last Supper.’ Soon 
afterwards he commenced his labours at the 
Palazzo Vecchio, Florence, in 1481. where a fresco 

134 


PHICAL DICTI( 


of the ‘Glory of St. Zanobius’ end cuhee subj } 
still remain. He was called to Rome by Sixtus I 


in 1483, to aid in the decoration of the Sistine F 


Chapel, where he painted ‘The Call of SS. Peter 


and Andrew,’ which still remains; and‘ The Resur- __ 
rection,’ which has perished. Previous to 1485 he 
decorated the Cappella San Fina in the Duomo of 
Gimignano with frescoes, representing different 
events in the life of that saint, which are remark- — 


able for their beauty and grandeur of treatment. 


In the year 1485 he completed the decorations of i. 


the Sassetti Chapel in the church of Santa Trinita, 
Florence: these consist of portraits of Francesco 
Sassetti and his wife Nera; a series of classical 


subjects, and six subjects from the life of St. Francis — j : By: 
of Assisi. The altar-piece he finished for this chapel _ 


with the ‘ Adoration of the Shepherds,’ is now in 
the Academy of Arts, Florence. 


Giovanni Tornabuoni to adorn the choir of Santa 
Maria Novella. 
master-pieces, consist of four courses of designs on 


the three walls of the choir, and represent— St. 2 4 
Francis before the Soldan,’ and ‘The Death of St. 


Peter, Martyr;’ eight subjects drawn from the life 
of St. John the Baptist; and thirteen taken from the 
life of the Virgin. In these beautiful and wonder- 
ful designs will be found twenty-one portraits of 
members of the Sassetti and Medici families, his 


own portrait and those of his assistant Sebastiano ~ 
After the comple- 


Mainardi, and of Baldovinetti. 
tion of the above immense work, Domenico painted 
by order of Lorenzo de’ Medici, the ‘ Christ in Glory, 
adored by SS. Romualdo, Benedict, Attinia, and 
Greciniana,’ for the Badia of Volterra, where it 
still remains. In 1488 he finished the ‘ Adoration 
of the Magi,’ for the church of the Innocenti, 
Florence, in which picture is his own portrait. 
latest known picture by Ghirlandaio is the ‘ Visit- 
ation of the Virgin,’ dated 1491, and now in the 


Louvre. He died at Florence in 1494. He was the a 
founder of an eminent school, and will ever be 


remembered as the instructor of Michelangelo. 
The following are some of his best works: 


Florence. Academy. Adoration of the Shepherds. 1485. 
i yy Madonna with four Saints. 
- Innocentr. Adoration of the Kings. 1488. 
- Ognissanti. The Last Supper (fresco). 

St. Jerome (fresco). 1480. 


” ‘Uffizi. Adoration of the Magi. 1487. 
¥ *s Madonna and Saints. 
Lucca. S. Martino. Madonna and Saints. 


Munich. Pinakothek. (i) Madonna and Child with the two 
St. Johns, St. Dominick, and St. 


Michael. (ii) St. Catharine of Siena. 


(iii) St. Lawrence ( yart of an altar- 
piece executed from designs by 
Domenico for Santa Maria Novella, 
Florence: the exterior wings, 
Jinished by Davide and Benedetto 
Bigordi and Francesco Granacet, 
aftér Domenico’s death, are in the 
Berlin Museum). 


Narni. Coronation. 

Paris. Louvre. Visitation, MCCCCLXXXxXI. 
ms : Old Man and a Boy. 

Pisa. Gallery. SS. Sebastian and Roch. 
# St. Anna. Madonna and Saints. 

Rimini. Gallery. Three Saints. 


S. Gimignano. Church. Annunciation (fresco). 
Volterra... Francesco. Christ adored by Saints. 


BIGORDI, MIicHELE (p1 RIDoLFO), who painted 
at Florence about 1568, died at the age of 75, A 
‘Holy Family’ by him is in the Pitti Palace. 


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_ to the juvenile works of Raphael. 


LANDAIO—who was born at Florence in 1483, lost 
his father Domenico when he was still a child, 


_and was taken under the protection of his uncle 


Davide. He afterwards studied under Cosimo Ros- 
selli and Fra Bartolommeo, and had so far profited 
by the instruction of these masters, that when 
es visited Florence, he was so satisfied of his 
ability, that he entrusted him to finish a picture of 
the ‘Virgin and Infant’ he had commenced, for 
one of the churches at Siena. So highly did Ra- 

hael esteem Ridolfo’s talents, that on his return to 

ome he invited him to assist him in his great 
works in the Vatican. Unfortunately for his fame, 
Ridolfo refused the invitation of Raphael, for, if 
he had accepted it, he would probably have par- 
ticipated in the glory of that illustrious painter in 
an equal degree with Giulio Romano. He possessed 
an acute and vivacious imagination, with an elegance 


_ and *aste in his forms that have a near affinity to the 


style of that master. In some of his first produc- 
tions, in San Jacopo at Ripoli, and in San Girolamo 
at Florence,though there is something of the dryness 
of Pietro Perugino, they bear a great resemblance 
He approaches 
nearer to the better time of that master in his two 
pictures of subjects from the Life of St. Zanobio, 
originally painted for the Academy at Florence, but 
afterwards placed in the Ducal Gallery. He died 
at Florence in 1561. The print of the ‘ Procession 


to Calvary’ (plate 125 of Rosini) will give an idea 


of his style of composition and delineation of char- 


acter; but it does not bear much of the impress of 


Fra Bartolommeo or Giulio Romano. The follow- 
ing are some of his most important pictures: 


Berlin. Museum. Adoration of the Infant Christ. 
Buda Pesth. Gallery. Nativity. 
Florence. P. Vecchio. Holy Trinity. 


<4 a Annunciation. 1514. 

a Academy. Panels with three Saints each. 

BA Uffizt. St. Zanobio restoring a child to life. 
a Pitiz Two Portraits. 


London. Wat. Gall. Procession to Calvary. 
Pistoja.8.PietroMag.Virgin adored by Saints. 
Reigate. Priory. Portrait of an old man. 


BIJE, Ds. See De Busz. 
BIJLAERT, Jan Jacos, a Dutch painter, was 
born at Rotterdam in 1734. His paintings, some 


_ of which are at Cassel and Brunswick, mostly 


represent girls, and are weak in colouring. He 
sometimes worked for churches. He died at Ley- 
den in 1809. 

_ BILCOY, Marie Marc ANTOINE, was born in 
Paris in 1755. He painted a number of genre 
subjects, and was received into the Academy in 
1789. He died in Paris in 1838. 

BILFELDT, Jean Josrru, a French miniature 
painter, was born at Avignon in *793. He studied 
under Raspay, and devcoted himself chiefly to 
miniatures and portraits, some of which are at 
Versailles. He died in Paris about the year 1849. 

BILIVERT, Jan, (or BELLIVERT,) who was born 
at Maestricht in 1576, was brought up in the 
school of Lodovico Cardi, in Italy, where he was 
called Giovanni Biliverti. He completed some of 
the works left unfinished at the death of his in- 
structor, to whose style he endeavoured to unite 


_ the expression of Santo di Titi, and something 


of the splendour of Paolo Veronese. He died at 
Florence in 1644. Amongst his best works may 
be mentioned : 


PAINTERS AND ENGRAVERS. 
- BIGORDI, Rwworro (p1 DomEnNico)—called Gutr- 


Florence. P2tti Pal. Tobias and the Angel. 
5 Uffizi. Joseph and Potiphar’s Wife. 
Petersburg. Hermitage. Hagar in the Desert. 
Vienna. Belvedere. Christ and the Woman of 
Samaria. 

BILLINGTON, Horace W., landscape painter, 
was the brother of the celebrated singer. A land- 
scape by him was exhibited at the Royal Academy 
in 1802. He died in London, November 17, 1812. 

BILLMARK, Cart JoHann, who was born at 
Stockholm in 1804, was a landscape painter; he 
visited Dalecarlia, St. Petersburg, and Paris, where 
he studied under Deroy. From 1828 to 1830 he pub- 
lished 100 lithographic landscape studies, and in 
1833, whilst in Paris, he produced 29 works, repre- 
senting the scenery of his native country; and later 
on 24 plates of views on the Rhine, and also 100 
plates in a work entitled, ‘ Journey from Stockholm 
to Naples.’ He was a member of the Academy of 
Stockholm, and received the decoration of the 
Wasa order. He died in Paris in 1870. 

BILLONI, GiampBarrisra, a painter of Padua, 
was born in 1576, and died in 1636. He painted 
landscapes and portraits, and sometimes attempted 
history ; but his reputation is now confined to his 
portraits. 

BILLOTTE, Renf&, born at Tarbes (Hautes 
Pyrénées) June 24, 1846. A pupil of Eugéne 
Fromentin. Exhibited yearly since 1878 at the 
Salon des Champs Elysées, and since 1890 at the 
Champs de Mars. He chiefly painted Dutch land- 
scapes and views around Paris. His ‘La Neige a 
la Porte d’Asniéres’ (Musée du Luxembourg) and 
‘Le Soir 4 l’Avenue de Villiers’ (Musée de Dijon) 
are well known. He also painted a decorative 
panel for the Hotel de Ville, ‘La Seine au Quai 
d’Orsay.’ He gained the silver medal at the 
Exposition Universelle of ’89. He was secretary 
of the National Society of Beaux Arts, and member 
of the Pastel Society, and Chevalier of the Legion 
of Honour, A collection of his works was shown 
at the Goupil Gallery in London in 1897. ip p, 

BILLWILLER, Jonann Lorenz JAcos, born at 
St. Gallen, Switzerland, in 1780, etched the por- 
traits of Fiiger, Maurer, Schmutzer, Fischer, and 
himself, and painted genre pieces after Kobell and 
J. Seelos. He committed suicide at Vienna in 
1810. 

BILLY, NiccoLd and Antonio, (or BILLI,) two 
Italian engravers, who flourished about the year 
1734, engraved several portraits and historical 
subjects, executed with the graver in rather a stiff, 
dry manner. Niccold engraved some plates for the 
Museum Florentinum. 

Fredericus Zuccharus. 

Hans Holbein ; se ipse pinz. 

Pietro Leone Ghezzi ; se zpse del. 

Giovanni Morandi ; se ipse del. 

Cardinal Pompeo Aldrovandi; G. Berti pin. 

Cardinal Spinelli; Dom. Dupra pinz. 

The Infant Jesus sleeping ; oval. 

St. Philip Neri kneeling before the Virgin; after 8. 

Conca. 

The Holy Family ; after Carracct ; half-length figures. 

The Flight into Egypt ; after Guido. 

BILTIUS, Jacos. See VAN DER BILT, JAcos. 

BIMBI, Barrotommeo, a Florentine artist, who 
was born in 1648, studied under Lorenzo Lippi, 
and after painting historical pieces for a short 
time, became an excellent painter of fruit and 
flowers; he was considered the Mario of his 
school. He died in 1725. 

BIMEL. See BuMEL. a 


BINCK. See BInK. ; 

BINDER, JosrrH, who was born at Vienna in 
1805, received his first art instruction in that city. 
From 1827 to 1834 he resided at Munich. Two 
years later he became teacher at the Stadel Insti- 
tute, Frankfort ; and in 1847 he returned to Vienna 
and was elected in the following year a member of 
the Academy, of which he was made a lecturer in 
1851. He died in 1864. Binder at first painted 
- portraits, but afterwards turned his attention to 
historical subjects, a branch of art in which he was 
very successful. Towards the close of his life he 
painted frescoes for churches. The following are 
some of his best works: 


Portrait of the Emperor Albert II. (Zn the Kaisersaal 

at Frankfort.) 

Madonna and Child. 

The Conversion of the Robber Julian. 

St. Catharine of Siena visiting a poor family. 

St. Florian. 

Conversion of St. Eustachius. 

Vienna.) 

BINDON, Francis, who was born in Ireland at 
the beginning of the 18th century, painted por- 
traits of Dean Swift, the Archbishop of Armagh, 
Dr. Sheridan, and other celebrated men of the time, 
some of which were engraved. He also practised 
as an architect, and built country mansions. He 
died in 1765. 

BINET, ADoLPHE GuSTAVE, younger brother of 
Victor J. B. Binet, born February 2, 1854, at Saint 
Sauveur (Calvados), became a pupil of Geréme 
at the school of Beaux-Arts, and gained consider- 
able reputation as a painter of Paris life and 
scenes, Later he became a follower of the 
mystical school, but he is best known by his great 
work in the Hotel de Ville, representing a sortie 
by the National Guard from Paris in 1870. This 
was exhibited in the Champ de Mars salon in 1891. 
He obtained a third-class medal in 1885, and a 
silver medal in 1889. He died in Paris in 1897. 

BINET, Louis, a French engraver, was born 
in Paris in 1744. He was a pupil of Beauvarlet, 
and engraved several plates after the works of 
Greuzé, Joseph Vernet, and other masters. He 
died in Paris about the year 1790. 

BING, Epwarp, (or ByNG,) was an assistant to 
Sir Godfrey Kneller, who, before his death, com- 
missioned him to finish all his portraits which 
were then incomplete, and in return settled on 
him £100 a year. Bing died about the middle of 
the last century. His brother, RoperT BING, was 
also employed by Kneller. 

BINK, Jaxos, (or BincK,) an old German en- 
graver and painter, was born at Cologne between 
1490 and 1504, From the earliest accounts of 
Bink, we must consider it probable that he was a 
pupil of Diirer, but this is by no means certain, 
while his early residence in Italy throws a doubt 
upon the supposition. He is also said to have 
worked under Marc’ Antonio in Rome. One of 
his largest plates is a rather feeble copy of the very 
popular ‘Massacre of the Innocents’ by Raphael. 
Previous to the year 1546 he was appointed painter 
to King Christian III. of Denmark, whose portrait 
and that of his wife Queen Dorothea, by him, are 
said to be at Copenhagen. He was also employed 
by Prince Albrecht of Brandenburg, who sent him 
in 1549 to the Netherlands, to erect a monument 
to the late Princess. Bink now received a fixed 
annual salary from the above-named prince, and 
Bees his wife and family to Kénigsberg, where, 

36 


(In the Belvedere, 


about twenty years after, he died, in 1568 « 
Of his paintings none but portraits are known. — 
the Garderobe at Kénigsberg are those of ‘ Prince 
Albrecht’ and his ‘ First Wife,’ and his own por- 
trait is in the Belvedere, Vienna. Bink’s pictures 
are remarkable for correctness of drawing and 
general artistic taste. This artist holds a dis- — 
tinguished rank among the engravers denominated, _ 
on account of the small size of their prints, by the 
name of the ‘Little Masters.’ His style is very — 
neat, sometimes resembling the works of H. Alde- 
grever, but his plates evince less mastery in the - 
execution. His drawing is correct, and there is 
an agreeable taste in the turn of his figures. There _ 
has existed considerable confusion respecting the 
marks of the artists of this period, particularly those _ 
whose names commence with a B. The works of — 
this master are generally marked with the cipher _ 
annexed, the ( meaning Coloniensis. ome 
Several other engravers used the initials 
I. B., one of whom, very skilful indeed, 
and possessed of much invention, is mis- m, 
taken by Sandrart for Bink. The following are his _ 
principal prints: i 
The Portrait of Jacob Bink, with a cap,a skull in his __ 
cloak, and a cup in his right hand. a 
The Portrait of Lucas Gassel; ZB. 1529. Inscribed 
Imago ab Jacob Binck ad vivum delineata. + ae 
Portrait of Francis I.; Franciscus rex Francie. 
Portrait of Claude, First Queen of FrancisI. 1526. 
Christiernus II, Danorum Rex. 1525. 
Elisabeta Danorum Regina. ‘3 
Christian ITI., surrounded by nine shields of armsand _— 
six Cupids, is one of his most elaborate and excellent 
engravings. It is rare, and not in Bartsch’s cata- _ 
logue. 
St. Jerome, with the Lion. 
Twenty, representing the Divinities; copied after 
Caralius, who engraved these plates after JZ Rosso. 
Adam holding the branch of a tree. 
Eve, with a branch with two apples. 
Lot and his Daughters ; circular; marked twice. 
David, with the head of Goliath. 1526. 
Judith, with the head of Holofernes. ‘o 
St. Michael vanquishing the Evil Spirit. C= 


The Virgin Mary adoring the Infant Jesus in the 
manger. 
Virgin sitting on a bank. 
Saints, various small prints, including 8S. Anthony, 
the Virgin with Catharine and Barbary, Magdalene, 


George. 
The Beheading of St. John. 
The Soldier struggling with Death. A fine design. 
Many subjects from fable and allegory, including Cupid, 
Venus, Hercules and Nessus, Pride, Fortune, Justice. 
The Massacre of the Innocents; copied after Marc- 
antomo ; very scarce; an inferior print. 
A Woman beating and driving away the Devil with 
her crutch. 1528. 4 
W. B.S. 


BINNEMAN, Watrer. This artist, who is sup- 
posed to have been a native of England, flourished _ 
about the year 1675. He engraved afew portraits,  _ 
which are very indifferently executed; among 
them is that of Robert Chamberlaine, an arithme- 
tician, prefixed to his ‘ Accomptant’s Guide.’ : 

BINOIT, Persp, a flower painter of the 17th 
century, flourished in Cologne. In the Darmstadt 
Gallery there are two flower-pieces by him. One 
has his monogram and the date 1611, and the other 
is signed P. BINOIT. FRANCFORT 1620. 

BINYON, Epwarp, was an English landscape 
painter in oil and water-colours. He lived many 
years in the isle of Capri, where he died in 1876, 
from the effects of bathing while heated. His 
works, which appeared atthe Dudley Gallery and 


at the Royal Academy, evinced his power of 
colour and of portraying the effects of the sunny 
south. Amongst his contributions to the latter 
institution were : 


Arch of Titus, 1859. 
Capri. 1870. 
Marina di Laccho, Ischia. 1873. 


Coral Boat at Dawn, Bay of Naples. 1875. 
Hidden Fires, Vesuvius from Capodimonte. 1876. 


BIONDI, Francesco, who was born at Milan in 
1735, painted sacred subjects. He died in 1805. 
In the gallery of his native town there is a 
‘Madonna and Child,’ by him. 

BIORD, Prerer. The name of this artist is 
affixed to an etching representing ‘Cupid and 
Psyche.’ It is executed in a bold, spirited style, 
and is apparently the production of a painter. 

BIRCH, Henry, an English engraver, practised 
in the latter part of the 18th century. He engraved 
after Stubbs and other contemporary painters. 

BIRCH, Jouy, portrait and landscape painter, 
was born at Norton, Derbyshire, in 1807. As a 
boy he gave indication of a love for art, sketching 
the beautiful scenery of the neighbourhood. For 
some time he assisted his father in his business as 
a file-cutter, but afterwards went to a carver and 
_ gilder, with whom he remained seven years. He 

then determined to take up portrait painting as a 
profession, and went to London, where he studied 
under H. P. Briggs. Here he received several 
commissions to paint copies of the portraits by his 
‘master, in which he was so successful, that it was 
‘sometimes difficult to distinguish the copy from the 
jriginal. Amongst the original portraits which he 
| aes were several of Ebenezer Elliott, the Corn 
aw Rhymer; one, a half-length, representing him 
amongst the rocks of Rivilin, was painted on the 
spot, when the poet and painter were on a ramble 
together. His landscapes consist of views of 
the magnificent scenery of Derbyshire: ‘ Dove- 
dale,’ ‘Millin’s Dale,’ ‘Matlock High Tor,’ ‘En- 
trance to the Peak Cavern,’ were favourite subjects 
of his pencil. Birch was a man of enlarged and 
liberal views, and of great conversational powers. 
For some years, towards the latter part of his life, 
he resided in London, making occasional visits to 
his native town, during the last of which it is said 
' that he painted about forty portraits in nine 
months, He died at South Hackney in 1857. 

BIRCH, WI1114M, a miniature painter and en- 
graver, was born at Warwick about 1760. He 
exhibited enamel portraits at the Royal Academy 
from 1781 to 1794, when he went to Philadelphia, 
where he died. As an engraver he is best known 
by his ‘ Délices de la Grande Bretagne,’ consist- 
ing of thirty-six plates of ancient buildings in 
Norwich and elsewhere, published in 1791. 

BIRCK, Pavut. Strutt mentions this artist as 
the engraver of four plates, exclusive of a title, 
representing the ‘Four Elements,’ in circles, sur- 
rounded with ornaments, which appear to be pat- 
terns for goldsmiths. They are executed with the 
284) in a style resembling that of J. T. de Bry. 

n the title is the following inscription: Quatuor 
Mundi Elementa, elegantibus figuris seu umagin- 
bus artificiosa expressa. Paulus Birck, f. 

BIRCKAERT, Anron, (or Brrokart,) a German 
engraver, who was born at Augsburg in 1677, and 
resided some time at Prague, where he died in 1748. 
He engraved some large architectural plates with 
figures, which are executed with the graver in a 


PAINTERS AND ENGRAVERS. 


stiff, formal style. Basan mentions a print by him 
representing the ‘Martyrdom of Forty Portuguese 
Jesuits ;’ after Borgognone. Dlabacz has given a 
numerous catalogue of his works. 

BIRCKENHOLZ, Pavius, was a native of 
Germany, and flourished about the year 1670. He 
was a print-seller as well as an engraver, and pub- 
lished a set of small plates; representing warlike 
trophies, with figures, &c. They are executed 
chiefly with the graver, in a neat, but formal style. 
The title to these plates is Omnis generis instru- 
menta bellica. 

BIRD, Epwarp, an English painter, born at 
Wolverhampton in 1762 (or 1772), served an appren- 
ticeship to a maker of tea-trays, and was employed 
to embellish them with fruit, flowers, and fanciful 
designs, At the expiration of his term of service he 
left Birmingham, and set up a school for drawing 
at Bristol. During the intervals of instruction 
he made sketches, designs, and compositions for 
pictures; and it would appear that his progress 
was due to his own observation and persevering 
industry. He painted humorous and pathetic sub- 
jects, which attracted much attention, and induced 
the members of the Royal Academy to enrol his 
name as an Associate in 1812, and as an Acade- 
mician in 1815. His best pictures, as historical 
compositions, are ‘The Battle of Chevy Chase,’ 
and the ‘Surrender of Calais.’ His chief merit, as 
an artist, lay in natural and touching representa- 
tions of homely and social subjects; history, both 
sacred and profane, required a spirit more imagin- 
ative than he possessed. He was a kind-hearted 
man, much respected by his brother artista and 
all who knew him. He died at Bristol in 1819, 
and was buried in the cloisters of the cathedral. 
Among his best paintings are: 

Good News (exhibited at the Academy in 1809). 

Choristers Rehearsing (purchased by the Prince Regent). 

A Country Auction (exhibited in 1812). 

A Poacher’s Career, in six subjects. 1812. 

Queen Philippa interceding for the Burghers of Calais. 

1814 


The Day after Chevy Chase (purchased by the Duke of 
Sutherland for 300 guineas). 

Death of Eli. (This picture received a prize of 300 
guineas from the British Institution, and was bought 
for 500 guineas by the Duke of Sutherland.) 

The Raffle for the Watch (in the National Gallery). 

Christ led to be Crucified (exhibited in 1817). 

The Death of Sapphira (his last work). 1818. 


BIRD, Joun, a landscape painter, was born in 
1768. He made some of the drawings for Angus’s 
‘Principal Seats of the Nobility’ (1787), and other 
topographical works. He died at Whitby in 1829. 

BISCAINO, Barrotommxo, the son of Giovanni 
Andrea Biscaino, was born at Genoa in 1632. He 
was instructed by his father in the first rudiments 
of the art, and afterwards became a scholar of 
Valerio Castelli. From the early indications he 
gave of uncommon genius, great expectations were 
formed of his future eminence, and they were not 
disappointed. Before he had reached his twenty- 
fifth year he had painted many considerable works, 
but his career was cut short by the plague, which 
visited Genoa in 1657, to which his father and 
himself fell victims. The Dresden Gallery pos- 
sesses three pictures by this artist, representing 
‘The Woman taken in Adultery,’ ‘The Adoration 
of the Magi,’ and ‘The Circumcision of Christ.’ 
He etched several plates, in a free, bold style, 
resembling in some degree the works of Benedetto 
Castiglione, but in a more finished band os 5 

d 


subjects are finely composed and elegantly eae 
e 


He sometimes marked his plates B. B. 
following are his most esteemed prints: 


Moses in the Bulrushes. 
Susannah and the Elders. 
The Nativity, with Angels. 
The Circumcision. 
The Wise Men’s Offering. 
Herodias, with the Head of St. John. 
The Virgin Mary and Infant Jesus, with Angels. 


The Virgin suckling the Infant Jesus, with St. Joseph. 
The Virgin suckling the Infant, with St. Joseph, and 


St. John with his lamb. 
The Virgin adoring the Infant Jesus. 


The Virgin with the Infant Jesus on her knee, St. John 


kissing his foot, and St. Joseph behind. 


The Virgin with the Infant Jesus standing on her knee, 
stretching out His arm to St. Joseph; half-length 


figures. 
The Holy Family, with St. John holding a cross. 
The Repose in Egypt, with Angels in the clouds. 
The Infant Jesus reposing on the globe. 
St. Joseph, with the Infant Jesus; half-length. 
St. Christopher giving his hand to the Infant Jesus. 
St. Christopher, with the Infant Jesus. 
Mary Magdalene in the desert; dated 1656. 


BISCAINO, GiIovANNI ANDREA, a native of 
Genoa, painted landscapes in a bold and spirited 
style; but, according to Soprani, the necessity he 
was under to paint with despatch, in order to 
support a numerous family, prevented his bestow- 
ing that care and attention which wculd have 


rendered his works more deserving of our esteem. 
He died at Genoa, of the plague, in 1657. 

BISCARRA, GIoVANNI, an Italian historical 
painter, of Turin, flourished in the first half of the 
19th century. He died in 1851. His own portrait 
is in the Uffizi at Florence. 

BISCHOF, FRiEepRIcH, who was born at Anspach 
in 1819, was a painter of genre subjects. ‘The 
First Snow,’ by him, is in the Pinakothek at 
Munich. He died in 1873. 

BISCHOP, Cornztis, a Dutch painter, who was 
born at Dordrecht in 1630, was a scholar of Fer- 
dinand Bol. He painted history and portraits, in 
the style of his master, but with very indifferent 
success. He died in 1674. His son, ABRAHAM 
BIscHoP, was eminent as a painter of birds. 

BISET, KareL EMANUEL, a Flemish painter, was 
born at Mechlin in 1633, It is not said by whom 
he was instructed, but he went to Paris when he 
was young, and met with great encouragement, 
his pictures, which represented gallant assemblies, 
balls, concerts, and what are called ‘conversations,’ 
being adapted to French taste. Notwithstanding 
his success, the love of his native country induced 
him to return to Antwerp, where he was appointed 
director of the Academy, in 1674. He designed 
his subjects with taste, but his colour is rather 
cold and grey. His chief work is a large picture 
in the Brussels Gallery, formerly in the hall of the 
Archers’ Guild at Antwerp, representing ‘ William 
Tell preparing to shoot the Apple from the Head 
of his Son.’ A ‘Family Group’ by him is in the 
Museum at Rotterdam. He died at Breda in 1680 
(or 1685). His son JAN Baprist BISET was also 
a painter. ey. 

BISI, Fra BoNAVENTURA, called ‘ Padre Pittorini,’ 
was a monk of the order of St. Francis, at Bologna, 
where he was born in 1612 (or 1610). He had 
been instructed in drawing when young, by Lucio 
Massari, and was celebrated for his copies in 
miniature from the works of Correggio, Titian, 
Guido, &c., many of which were in the cabinet of 

138 


af ut 
s ise a 
~ ase eG! 

: ‘ 


A BIOGRAPHICAL DICTIONARY oF 


ATus P, 


Bissoni painted several pictures for the churches _ 


Alfonso IV. of Modena, by whom he 
He also etched a few plates after Parmigianc 
Guido, &c., and one after his own design of a 
‘Holy Family, with St. John and St. Elisabeth, — 
Sadts F. B. B. F. 1631, He died at Modenain ~ 
662. eae 
BISI, MicHELE, an Italian engraver and painter, 
who was born at Genoa about 1788, does honour to 
the schools of Bartolozzi, Rosaspina, and Longhi, — 
He first distinguished himself by the publication _ 
of the ‘Pinacoteca del Palazzo Reale delle Scienze _ 
e delle Arti di Milano,’ in which he was aided by _ 
his wife, ErNesTa Bist, who was likewise a pupil 
of Longhi. In 1819 he undertook a series of 
engravings from the paintings of Andrea Appiani, _ 
in which he was assisted by some of the best 
scholars of Longhi. His engraving of ‘Venus 
embracing Cupid’ happily expresses the beauty 
of the original picture, Subsequently appeared 
‘The Virgin and Infant Christ enthroned, attended _ 
by St. Anthony and St. Barbara,’ after Luini, 
which he has treated in a brilliant and delicate __ 
manner, preserving the beauty and grace peculiar 
to the master; ‘Andromeda and Perseus,’ after 
Guercino; an ‘Adoration of the Virgin,’ after 
Sassoferrato; and ‘The Offering of the Magi, 
after Gaudenzio di Ferrara. He also succeeded _ 
as a painter of landscapes. a 
BISQUERT, Antonio, was a Spanish historical 
painter, who was born at Valencia, and a scholar 
of Ribalta. He established himself at Teruel in 
1620, and became renowned as a painter. Hewas 
a good colourist and designer, and infused much ~ 
sentiment into his pictures. He also copied 
Sebastiano del Piombo’s ‘Dead Christin the arms __ 
of the Virgin.’ He died in 1646. 
BISSCHOP, Jan pz. See De Bisscuopr. 
BISSET, James, born in 1760, first practised as — 
a miniature painter at Newmarket, He afterwards _ 
went to Birmingham, where he engraved the em- __ 
blematic plates to his ‘Survey round Birmingham’? __ 
(1800). In 1814 he published a ‘Guide to Leam-- 
ington.’ He died there in 1832. 
BISSOLO, Pizr Francesco, was, it is believed, 
a native of Treviso, and was brought up in the 
school of the Bellini at Venice. He flourished 
from about 1492 to 1530. His paintings are very _ 
rare. His works at Murano, and in the cathedral __ 
of Treviso, were compared by Lanzi with those of ~ 
Palma Vecchio. ca 


Berlin, Gallery, Resurrection of Christ; Castel-Franco, 
Floriano, Altar-piece (signed and dated MDXXVIII); 
Brescia, Madonna and Saints; London, Benson Coll., 
Three pictures; Venice, Academy, Christ exchanging _ 
the crown of thorns of St. Catharine of Siena fora —_ 
crown of gold (s¢gned Fraciscus Bissoto)—formerly 
in San Pietro Martire, Murano (generally considered _ 
his masterpiece), and three other works. ; 


There are also pictures by him in the Correr _ 
Museum, Layard Gallery, and Redentore Church, 
in Venice. s 

Francesco Bissolo is thought by Crowe and 
Cavalcaselle to be possibly identical with Pietro 
de’ Ingannati, the author of a‘Madonnaand Child’ __ 
in the Berlin Gallery—signed Perrus pz INGAN- __ 


BISSONI, Giovanni BATTistTA, was born at Padua Re y 


in 1576; and, according to Ridolfi, was first a “= 
scholar of Francesco Appollodoro, called Il Porcia, _ 


a portrait painter, and afterwards of Dario Varotari. _ 


¥ oo at Padua and Ravenna. He died in 
_ BISUCCIO, Lronarpo pi, of Milan, is a painter 
whose name has been handed down to posterity by 
the pase of one work only. It is the decora- 
tion of the chapel of Sergiani Carracciolo, in the 
church of San Dietehoi a Carbonara, in Naples. 
The subjects are scenes from the life of the Virgin, 
in which several portraits of members of the Car- 
racciolo family have been introduced. In general 
treatment the work resembles the style of Giotto, 
but the heads partake of the beauty of Fra An- 
gelico. Bisuccio lived about the middle of the 
15th century. 
_ BITTERLICH, Epvarp, was born at Stupnicka, 
in Galicia, where his father had established him- 
self. Whilst Eduard was still young his parents 
moved to Vienna, with the intention of educating 
him for the civil service, but against their will he 
entered Waldmiiller’s studio, and devoted himself 
to miniature painting. In 1855 he went to Venice 
in order to copy the works of the old masters. His 
enthusiasm was so great that he would scarcely 
allow himself the time to eat and drink. Upon his 
return he married Marie Singer von Wyssogurski, 
and immediately afterwards put himself under the 
direction of Rahl, whom he never afterwards left 
until his death. For this master he designed many 
fresco paintings, and sketched an immense number 
of small compositions, amongst them the 20 sheets 
for the ‘Wanderings of the Argonauts,’ and the 
coloured sketches for the Duke of Oldenburg. 
After Rahl’s death, Bitterlich’s principal work— 
executed in conjunction with Griepenkerl—was the 
design for the new Opera House; and of his earlier 
productions we may name, The Pompeian figures 
in the Ypsilanti Palace, and the 20 Lunettes in the 
Banqueting-hall of the Grand. Hotel of Vienna, 
together with the pictures for the restored castle 
of Duke Leopold in Hornstein. He died at Press- 
baum, near Vienna, in 1872. 

BITTHEUSER, JoHANN PLEICKARD, an engraver, 
born at Bitthard in 1774, was instructed by J. G. 
von Miller; he was professor at Wirzburg, and 
died there in 1859. The following engravings are 
some of his best works: 

The Last Supper ; after Leonardo da Viner. 1805. 

pie meeting of Augustus and Cleopatra; after R. 

éengs. 

The Wife of Domenichino coming out of the bath; 

_ after Domenichino. 

BIZAMANUS was the name of a family of 
painters who belonged to a school at Otranto, in 
Apuleia, and flourished a short timne before the 15th 
century. Their paintings are executed in the 
Byzantine style, with landscapes in the back- 
grounds. The painting in the Museo Cristiano of 
the Vatican, of ‘Christ, risen from the dead, and 
Mary Magdalene,’ is attributed to Donatus Biza- 
manus; and that in the Museum at Berlin, of 
‘The Descent from the Cross,’ to Angelus Biza- 
manus. : 

BIZEMONT-PRUNELE, Anpri& GasparD Par- 
FAIT, Comte de, French draughtsman and engraver, 
was born at the chateau of Tignonville, near 
Etampes, in 1752. He was a pupil of E. Gaucher, 
and etched and engraved on wood a considerable 
number of works. He was for some years director 
of the Museum at Orleans, and died there in 1837. 
Among his etchings may be mentioned: 

Hagar and Ishmael ; after Guercino. 

Cephalus and Procris; after the same. 


PAINTERS AND ENGRAVERS. 


Virgin and Child; after Guido. 

A Pieta; after Ribera. 

La Nourrice; after Watoire. 

An Allegory upon the death of Louis XVI. and of 
Marie Antoinette. 


BIZZELLI, Giovanni, a Florentine painter, born 
in 1556. He was a scholar of Alessandro Allori, 
called Bronzino, He afterwards went to Rome, 
where he painted some pictures for the churches. 
On his return to Florence he executed several 
works for the public edifices, which are described 
by Borghini in his account of the painters and 
sculptors of Florence. He died in 1612. His 
own Portrait and an ‘Annunciation’ by him are 
in the Uffizi.’ 

BLACKEO, Brrnarpino. Ridolfi describes several 
works of this painter in the churches at Udine, in 
the Friuli—among them, the principal altar-piece 
of the church of Santa Lucia, representing the 
‘Virgin and Infant Saviour, with a group of 
Angels, and St. Lucia and St. Agatha;’ and in 
Porta Nuova, the ‘ Virgin and Infant Christ, with 
St. Peter and St. John.’ Blaceo appears to have 
flourished about 1550. 

BLACKLOCK, W. J., a landscape painter, was 
born in 1816. His views of scenery in the North 
of England were much admired at the Royal 
Academy Exhibition of 1853 and the two follow- 
ing years. He died at Brampton, Cumberland, in 
1858. 

BLACKMORE, JouN, a mezzotint engraver, 
was born in London about the year 1740. We 
have by him some well-scraped plates, chiefly 
portraits after Sir Joshua Reynolds, among which 
are the following: 


Samuel Foote; after Sir Joshua Reynolds. 1771. 
W.H. Bunbury, caricaturist ; after the same. 
Henry Bunbury ; after the same. 

Innocence. 1770. 


He also engraved plates after Frans Hals and other 
Flemish artists. He died about 1780. 

BLACKWELL, EuizasetH, the daughter of a 
London merchant, is known as the author of ‘A 
Curious Herbal, containing 500 cuts of the most 
useful plants which are now used in the practice 
of physic, engraved on copper-plates after draw- 
ings taken from the life,’ published in 1737 and 
1739. This celebrated botanical work was issued 
at Nuremberg in 1757, with German and Latin text, 
and 600 coloured plates, and at Leipsic in 1794. 
Mrs. Blackwell was the wife of Dr. Blackwell, 
who for many years was physician to the King 
of Sweden, and was involved in a State prose- 
cution for treason, and beheaded in 1747. His 
widow lived till 1774. 

BLAGRAVE, Joun, an eminent mathematician, 
a native of Berkshire, published among other 
works, in 1585, ‘The Mathematical Jewel,’ illus- 
trated with woodcuts, executed by himself, in a 
neat style. He died in 1611. 

BLAIN pe FONTENAY, Jean Baptistr. A 
mistake for BELIN DE FoNnTENAY, which see. 

BLAIZE, Canp1vz, a French miniature painter, 
was born at Nancy in 1795, and died in Paris 
about 1855. ; 

BLAKE, B., a painter of still-life, birds, fish, 
and other objects of that kind. His works, when 
carefully painted, are very pleasing, but his cireum- 
stances, and his mode of living, obliged him to hurry 
his pictures, and too frequently to repeat them. 
As they were to a certain degree popular na 


day, the dealers held him in thrall, and injured his 


reputation by employing others to copy his works. 
He was also compelled by necessity to make, for 
these patrons, copies of the works of Dutch painters, 
in which he was sometimes so successful as to 
enable his employers to mislead their customers. 
Little of his history is known. He exhibited 
‘Views of Dunford, near Salisbury,’ more than 
once at the Academy; and ‘ Dead Game’ frequently 
with the Society of British Artists, of which he 
was a foundation member. He died about the 
year 1830. 

BLAKE, NicHo.as, a draughtsman and engraver, 
who illustrated Hanway’s ‘Travels in Russia and 
Persia,’ published in 1753, an edition of ‘Pope’s 
Poems,’ and other works. He was a native of 
Ireland, and lived for many years in Paris, where 
it is believed he died at the end of the last century. 

BLAKE, WILuIAM, painter and engraver, was 
born in London on the 28th of November, 1757. 
(The “good MS. authority ” onwhich Mr. Swinburne 
prefers the 20th of November is insufficient to dis- 
credit the evidence, especially that of Varley’s 
horoscope, for the later date.) He was the second 
son of a hosier who had carried on business for 
many years at 28, Broad St., Golden Square, a 
quarter occupied at that time by shops and 
residences of a good class. Little is known of his 
parents’ temperaments and acquirements ; but the 
fact of their sending the lad, in his tenth year, to 
Pars’ drawing academy in the Strand (considered 
the best drawing-school of the day), is evidence 
that they lacked neither the will nor the means to 
launch their son upon an artistic career. The boy 
had already shown his bent by drawing many 
curious sketches on the hosier’s bills and counters. 
At fourteen he was taken to be apprenticed to the 
fashionable engraver Ryland ; but his strong pre- 
sentiment that Ryland would some day be hanged 
(a presentiment eventually justified to the letter) 
led to the breaking off of the negotiations, and it 
was as a pupil of James Basire, an engraver of the 
hard and dry school, that Blake spent the years 
1771-8. For the understanding of his art it is 
important to remember that, at an age when the 
majority of students have hardly entered upontheir 
more serious training, Blake had already begun to 
draw and engrave for publication ; for example, 
‘Joseph of Arimathea among the Rocks of Albion, 
an engraving put forward as a copy from Michael 
Angelo, was almost certainly Blake’s own design, 
and it is dated 1773. Nor was the isolation in 
which this precocious activity was exercised a 
mere matter of a lonely studio or workshop. 
Basire employed his apprentice to make drawings 
of London churches, and it is on record that young 
Blake was often locked up in Westminster Abbey 
with no companions save the monarchs and heroes 
whose crumbling effigies he had been sent to copy. 
There is ground for the supposition that he was 
present on the day when the body of the first 
Edward was exhumed and the royal face for a 
moment uncovered. But, be this as it may, it is 
certain that the lad’s innate sympathy with the 
supernatural was greatly and perhaps morbidly 
enhanced by the long hours of loneliness spent in 
haunted vastness and dimness. At four the boy 
believed he had seen God ‘‘ put His forehead to the 
window,” and at eight or ten he had marvelled at a 
tree bright with angels on Peckham Rye. How 
far he believed in the objective reality of these 
appearances cannot be determined. On the one 

140 


Hh i i ; = | ¥ ae . 
A BIOGRAPHICAL 


-able productions, and for the immense force and _ 


BY al" Tih 

WAR Fe eas tote ce Une 
hand stands the fact that to the end « 
claimed to be holding converse with the 
men no less great than Moses, Homer, Sox 
Dante, Shakespeare and Milton; affirmin 
instance, of Shakespeare, “ He is exactly like t 
old engraving, which is said to be a bad one— 
think it very good.” On the other hand, full weig 
must be given to such remarks as, ‘*‘ You can see 
what I do if you choose. Work up imagination to 


that, as an artist, he went as far as do the exponents | 
of materialism in arrogance of idiom, though in an 
opposite direction. In other words, he did not 
admit the obligation to confine himself to every- 
day, literalspeech. ‘ Allthings,” he said, “‘existin 
the human imagination alone,” and to one who _ 
showed him ‘The Mechanic’s Magazine, he said, 
“We artists hate these things.” Onthetermination 
of his seven years’ apprenticeship, Blakestudiedfora 
short time at the newly-established Royal Academy. — 
But his preferences and intentions as an artist had 
already become fixed, as appears from some — 
sentences scribbled by him many years laterina __ 
copy of Reynolds’ ‘ Discourses.’ It seems that 
Blake, who, on the strength of threepenny-pieces, __ 
invested in prints after such masters as Raphael, — 
Michael Angelo and Diirer, had been known years 
before in the sale-rooms as“ the little connoisseur,” 
‘secretly raged ” when he was rebuked by Moser, 
the keeper, for wasting time on these “old, hard, 
dry, unfinished works” instead of devoting himself _ 
to Rubens and Le Brun. As for the living model, _ 
he protested that natural objects only “weaken, — 
deaden and obliterate imagination,” and declared __ 
that the so-called ‘‘life” ‘looks more like death 
and smells of mortality.” Butthough a revolt from 
Moser and the Academy was inevitable and bene- __ 
ficial, it is a debatable question how faramore 
prolonged and all-round course of training would __ 
have been a loss or a gain to his art. Afteradis- 
appointment in love, Blake married, in 1782, 

Catherine Boucher, of whom Mr. Swinburne says __ 
that she “‘ deserves remembrance as about the most 
perfect wife on record.” At the time of the — 

marriage the young woman could neither read nor — 
write, but she seems in the course of years not only 
to have vanquished these disabilities, but also to 
have become no mean draughtswoman, while itis 

well knownthat she both bound her husband’s books 
in boards and coloured many of his illustrations. _ 
The more painful stories of Blake's poverty are 
exaggerations, and the accounts of his squalor are 
falsehoods. But “the last shilling ” was a familiar 
sight. Save for a few years (1800-1804) spentat 
Felpham in Sussex, in the impossible society ofthe __ 
‘poet? Hayley, the couple passed the whole of 
their lives in London lodgings, Blake neverwent 
abroad, and had contact with no artistic lifesave 
that of Georgian London, The desire for holidays 
was a mystery to him, and even the northern heights 
which are parts of modern London made him illby 
their strong and unfamiliar air. He was bred, 
born, married and buried a Londoner, and thisis 
another of the facts which throw light upon his art, 
accounting, as it does, both for the lack of variety _ 
in proportion to the bulk of his almost innumer- — 


mystical beauty of the ideal creations which repre- _ 
sent the reaction from his cramped and ugly 
conditions. In 1780 Blake exhibited ‘The Death 


rae F 


Royal Academy. 
_ friends, the slim octavo volume ‘ Poetical Sketches 


of Earl Godwin’ (probably in water-colours) at the 
In 1783 appeared, at the cost of 


by W.B.,’now extremely rare. ‘Poetical Sketches’ 
was printed and published in the ordinary way. 
But four years later came a little book which in 


twenty-seven pages presents examples of nearly 


every one of its author’s extraordinary character- 


istics. This was the famous ‘ Songs of Innocence,’ 
_ which, along with its companion, ‘Songs of Ex- 


perience,’ is now universally admitted to contain 


some of the most clearly inspired and perfectly 
beautiful poetry in the literature of the world. 


_ he used for the letterpress. 


The songs composing the volume were involved in 


marginal decorations of a beauty and originality 
only less than the songs’ own, and the whole work 
was written, embellished, engraved, printed and 
bound by the poet and his wife. Even the ink 
was of their own making. As for the technical 
method, it is thus described by Gilchrist : “It was 
quite an original one. It consisted of a species of 
engraving in relief, both words and designs. The 
verse was written and the designs and marginal 
embellishments outlined on the copper with an 
impervious liquid, probably the ordinary stopping- 
out varnish of engravers. Then all the white parts 
or lights, the remainder of the plate, that is, were 
eaten away with aqua fortis or other acid, so that 
the outline of letter and design was left prominent 
as in stereotype. From these plates he printed off 
in any tint, yellow, brown, blue, required to be the 
prevailing or ground colour in his facsimiles; red 
The page was then 


_ coloured up by hand in imitation of the original 


drawing, with more or less variety of detail in the 
local hues.” The secret of this serviceable process 
Blake firmly believed himself to have learned one 
night in a dream from the spirit of his dead brother 


Robert, and it is on record that, next morning, 


‘ous 


after Mrs. Blake had paid one shilling and tenpence 
for the materials required to test its efficacy, only 
eightpence remained in the common purse. The 
experiment succeeded, and Blake, whose writings 
(with the exception of ‘ Poetical Sketches’ and part 
of a poem on the French Revolution) never tempted 
a publisher till after his death, became his own 
printer and bookseller. The result, as in nearly all 
the crucial issues of his life, was a further pressing 
in of the artistupon himself, and the loss of influences 
which some think would have corrected and 
balanced his strong natural endowment, while 
others hold that they would have weakened and 
blurred it. Accustomed to and even preferring a 
frugal and busy life, Blake fell into a habit of 
writing only to please himself—a superficially 
admirable choice which generally ends in ignomini- 
unintelligibility. The ‘Prophetic Books’ 
(‘ Visions of the Daughters of Albion,’ ‘ America,’ 


‘Europe,’ ‘The Book of Urizen,’ ‘The Song of 
Pp 


Los,’ ‘The Book of Ahania,’ ‘Jerusalem,’ and 
* Milton’), which, along with ‘The Book of Thel,’ 
‘The Marriage of Heaven and Hell, and ‘The 
Gates of Paradise,’ complete the tale of works en- 
graved by Blake according to the method of the 
ghostly Robert, are coveted by collectors for their 
rarity, and by artists for their powerful illustrations 
and decorations. But, despite the enthusiastic 
labours of commentatorsto elucidate their obscurities 
and to magnify their importance, it is almost certain 
that they will ultimately be regarded as turbid 
streams of inscrutable verbal symbols in which a 
lyrical fire of almost unequalled liveliness and 


PAINTERS AND ENGRAVERS, 


purity was extinguished. Fortunately, however, 
while Blake the poet was wandering in blind alleys, 
Blake the designer kept pushing onward along so 
straight a path that the twenty-two pieces illustrat- 
ing the Book of Job, though executed when the artist 
was well over sixty years old, are not only his finest 
achievement, but one of the noblest sequences of 
designs in the rich domain of religious art. In 
the ‘ Job’ Blake returned to more familiar methods, 
using the graver alone, without etching; and 
although many of his admirers have bemoaned the 
long estrangement from what proved to be his 
most congenial and effective medium, it might be 
maintained with equal cogency that without these 
fallow years the fine luxuriance of ‘ Job’ had been 
impossible. The illustrations to Dante’s ‘ Divina 
Commedia’ (for the purposes of which the man of 
seventy acquired a working knowledge of Italian) 
bade fair to equal the ‘Job,’ but Blake’s death cut 
the work short when only seven of the hundred 
water-colour designs had been engraved. Among 
earlier engravings by Blake may be mentioned 
forty-three plates illustrating Young’s ‘ Night 
Thoughts’ (the residue of the five hundred and 
thirty-seven designs for this work existing as 
coloured drawings only), The well-known illustra- 
tions to Blair’s ‘Grave,’ though designed by Blake, 
were engraved by Schiavonetti, a successful pupil 
of Bartolozzi. This arrangement was disin- 
genuously manipulated by Cromek, a publisher, 
who followed it up by an act of double-dealing in 
respect of Blake’s ‘Canterbury Pilgrims’ which led 
on the one hand to a lifelong breach of old friend- 
ship with Stothard, and on the other hand to the 
exhibition and to the ‘ Descriptive Catalogue’ 
noticed below. Of wood-engravings Blake pro- 
duced only the brilliant set of seventeen tiny 
illustrations for Phillips’ ‘ Pastorals,’? executed in 
1820-1821. Asa painter Blake is easier to study 
in his opinions than in his achievements. The 
National Gallery has his ‘The Spiritual Form of 
Pitt guiding Behemoth,’ and ‘ Return from Calvary,’ 
and the British Museum has some of his drawings ; 
but by far the greater part of his work is inacces- 
sible or has perished. In many cases the destruc- 
tion must be blamed either on an indifferent public 
or on fanatics who burned innumerable poems and 
designs on the ground that, though they were 
certainly inspired, their inspiration was from the 
devil. In other cases, Blake’s technical methods 
must be held responsible. In the memorable 
‘Descriptive Catalogue’ to an exhibition of his 
pictures held in 1809 the artist wrote: ‘ Clearness 
and precision have been the chief objects in paint- 
ing these pictures—clear colours unmuddied by oil, 
and firm and determinate lineaments unbroken by 
shadows which ought to display and not hide form, 
as is the practice of the latter schools of Italy and 
Flanders.” His frescoes, as he called them, were 
rather a kind of tempera, painted in water-colour 
on a ground of glue and whiting, applied to a 
panel or linen or canvas, and it seems that many 
of them cracked or were spoilt by damp. As for 
their contents, the painter himself, while confessing 
his inferiority to Raphael and Michael Angelo, said, 
“T do pretend to paint finer than Rubens or 
Rembrandt or Oorreggio or Titian.” With his 
engraver’s training it was difficult for him to escape 
from a narrow view of drawing. ‘TI assert,” he 
added, ‘* that he who thinks he can engrave or paint 
either, without being a master of drawing, 1s a 


fool. Painting is drawing on canvas, and angray 


A BIOGRAPHICAL DICTIONARY OF — 


ing is drawing on copper, and nothing else ; and he 
who draws best must be the best artist.” It need 
hardly be said that the paintings which survive fail 
to support both the pretensions and the theories of 
their author. But it is not asa painter that fame 
is claimed for Blake, and there remains a body of 
drawings and engravings more than sufficient to 
accredit him as an artist who, despite his prejudices 
and extravagances, must come to be ranked among 
the greatest of Englishmen. ‘“ In expressing con- 
ditions of glaring and flickering light,” says Ruskin, 
“Blake is greater than Rembrandt,” and this is 
only one of many particular eulogies from writers 
to whom Blake’s work in general made no strong 
appeal. Upon artists no less reputable than 
Dante Gabriel Rossetti his influence, though 
obscure in operation, was considerable, and upon 
certain younger groups itis inestimable, The sen- 
sational character of some of his productions (such 
as the ‘Visionary Heads’ and the too famous 
‘Ghost of a Flea’), and the popular anecdotage 
which invariably gathers round a strong and un- 
conventional personality, have too long gone on 
strengthening the habit of excluding his achieve- 
ment from ordinary consideration, and although 
his own obstinate self-detachment from contem- 
porary artistic movements and his contempt for 
court and academical honours were certainly the first 
causes of the neglect into which he fell, the time has 
come to regard them as forces which worked to 
distinguish him from more modish practitioners of 
design and to feel pride in his indisputably 
original and fine performance. Blake’s fruitful old 
age, which without the friendship of Linnell must 
have been years of monetary anxiety and artistic 
barrenness, ended on the 12th of August, 1827. 
He died “ singing of the things he saw in heaven,” 
and was buried in Bunhill Fields’ Cemetery in a 
common grave, now untraceable. The best and 
fullest account of him is that by Gilchrist (2nd 
edition, 2 vols., London, 1880) ; the second volume 
contains an extended list of his works and many 
reproductions. The curious ‘ Father’s Memoir 
of his Child,’ by B. H. Malkin (London, 1806), is 
valuable for the particulars of Blake’s life and 
aims contained in the preface. Mr. Swinburne’s 
‘Blake’ (London, 1866); Mr. W. M. Rossetti’s 
long memoir and note prefixed to the Aldine edition 
of Blake’s poems (London, 1890); and Messrs. 
Ellis and Yeats’ three large volumes (London, 1893), 
contain much biographical and critical material, the 
last-named work including facsimiles of the ‘ Pro- 
phetical Books,’ and an alleged key to their inter- 
pretation. 

Among devotees of Blake on his occult side a 
hope is still indulged that more of these “ Pro- 
phetical Books” may come to light. It is known 
that Blake left a hundred volumes ready for pub- 
lication, and ‘that Tatham, an “angel” of the 
Irvingite church, to whom Mrs. Blake made over 
the manuscripts, spent two days in burning his 
heretical legacy. The search for survivors of the 
bonfire is not quite hopeless; but meanwhile 
Blake’s cause is far better served by the frequent 
re-publication of his saner works. Among recent 
examples of these may be noted the reproductions 
of some of the Dante drawings in the now defunct 
‘Savoy’ magazine (London, 1896); the illustra- 
tions in Dr. Richard Sarnette’s ‘William Blake: 
Painter and Poet’ (London, 1897) ; two volumes 
containing respectively all Blake’s woodcuts and 
the whole of the ‘Job’ engravings (London, 1902), 

142 


—_~ 


and numerous facsimile copies of characteristic 


pages in ‘Songs of Innocence’ and ‘Songs of 


Experience.’ 


A remarkable sale of choice original productions q 
by Blake, the property of the Earl of Crewe, 
took place in March 1903, when very high prices _ 


were obtained for many of the rarities then first 
offered. Amongst the items were the twenty- 
one original illustrations for the Book of Job, 
the unpublished drawings for ‘L’ Allegro’ and ‘Il 
Penseroso,’ and the original coloured issues of 
‘ America,’ ‘ Jerusalem,’ ‘The Marriage of Heaven 
and Hell,’ ‘The Song of Los,’ and the ‘Songs 


of Innocence,’ as well as all the rarest of the 4 


books. E.J.0. 
BLANO, Horacz ux, See Le BLAnc. ; 
BLANC, Lupwie Amy, a painter of portraits 

and medigwval genre, was born at Berlin, August 9, 

1810. In 1829 he entered the Berlin Academy 

schools, and in 1834 removed to Diisseldorf, where 

he studied under Julius Hiibner. From 1840 to 

1842 he worked at Hanover, painting portraits of 

members of the reigning family, and other persons 

of note, and in 1845-7 he was similarly employed 
at Darmstadt. In 1857 he visited France and 

England. He died in April 1885. There is a 

picture by him in the Berlin National Gallery. 
BLANCHARD, Avaustz JEAN BapTistz MARIE, _ 

a French line-engraver, was born in Paris in 1792, 

and died there in 1849. He was the pupil of his 

father, Auguste Blanchard, and engraved, among _ 
other works: Bas: 


Madonna and Ohild with St. John; after Batoni. 


(Aguado Gallery.) 
The Oath of the Horatii; after David. 
Daphnis and Chloe; after Albrier. 
The Entry of Henry 1V. into Paris; after Gérard. 
Elizabeth of Bourbon, Queen of Spain ; after Rubens, 
Joséphine, Empress of the French ; after Pru@hon. 


BLANCHARD, Epovarp THEHOPHILE, a French 
subject and portrait painter, was born in Parisin 
1844. He studied under Picot and Cabanel, and 
obtained the Prix de Rome in 1868. With his 
friend Regnault he became a volunteer in 1870, 
and fought against the Germans. 
awarded medals in 1872 and 1874. He died in 
1879. The following are amongst his works: 


A Courtesan. 1872. 
Hylas and the Nymphs. 
Herodias. 1874. 
Cortigiana. 1875. 

The Buffoon. 1878. 


BLANCHARD, GasrI&z, known as ‘ BLANCHARD 
LE NEVEU,’ the only son of Jacques Blanchard, was 
born in Paris in 1630, and studied under his uncle, 
Jean Baptiste Blanchard. He was, in 1663, elected 
Academician on the merits of an allegorical paint- 
ing of the ‘ Birth of Louis XIV.,’ now at Versailles ; 
but his most successful work was a picture of ‘St. 
Andrew,’ which he painted for the Goldsmiths’ 
Guild. He became keeper of the royal collection, 
and successively assistant-professor, professor, and, 
in 1699, treasurer of the Academy. He died in 
1704. Two of his sons, NicoL.As and PHILIPPE 
THOMAS, were likewise painters. ig 

BLANCHARD, Henri Pierre LkoN PHARA- 
MOND, an historical and landscape painter, was 
born at La Guillotiére, a suburb of Lyons, in 1805. 


1874. 


He studied under Baron Gros, travelled in many _ 


distant countries, and went with the French expedi- 
tion to Mexico in the years 1858 and 1859. In 1856 
he was in Russia, and was present at the coronation 


His works were _ “| 


_ of Alexander II. He died in Paris in 1873. The 
following are some of his principal works: 
- Bull-Hunting. 

The Smugglers. 1836. 

_ The Disarmament of Vera Cruz. 1840. (At Versailles.) 

The Street of El Alari at Tangiers. 

_ San Isidoro Labrador, the Patron Saint of Madrid. 

Vasco Nufiez de Balboa discovering the South Sea. 

(Paris Univ. Exhib. 1855.) 

The Valley of Jehoshaphat. (Paris Univ. Exhib. 1855.) 

The Arrival of the French at Plan-del-Rio. 1865. 

Farm Yard at Chatou. 

~The Dijiguietofka. 

An American Glade. 

He also contributed largely to the ‘ Illustration,’ 
and in 1855 published ‘ L’Itinéraire Historique et 
Descriptif de Paris 4 Constantinople’ (12 plates). 

BLANCHARD, Jacquzs, an eminent. French 
painter, was born in Paris in 1600, His first in- 
structor in the art was Nicolas Bollery, his ma- 
ternal uncle ; but when about twenty years of age 
he spent four years at Lyons, studying under 
Horace le Blanc, and then went to Italy, and 
passed two years at Rome. He returned by way 
of Venice, and was so struck with the beautiful 
colouring of the great Venetian masters, especially 
Titian, that he was induced to remain two years 
in that city. On his return to Paris he executed, 
as a reception picture into the Guild of St. Luke, 
a ‘St. John on the Isle of Patmos,’ which, with 
others of his works, was greatly admired. He was 
the first to establish a true and natural style of 
colouring, in which the artists of his country were 
very deficient, though he scarcely merited the name 
of the ‘French Titian,’ which was given to him 
by his contemporaries. His chief works at Paris 
were the two pictures he painted for Notre-Dame, 
one representing ‘St. Andrew kneeling before the 
Cross,’ the other the ‘ Descent of the Holy Ghost,’ 
executed in 1634; in the gallery of the Hétel de 
Bouillon, now fallen into ruin, he painted thirteen 
large pictures of subjects from Ovid. The Louvre 
contains four works of his—two of the ‘ Holy 
Family,’ a ‘Charity,’ and a ‘St. Paul in Medita- 
tion,’ but they are all of small size: it has not one 
of the large pictures which established his fame 


as a colourist. Although now almost forgotten,. 


his reputation was great, and in many respects 
well deserved. He died in Paris in 1638. 

Blanchard etched some plates from his own 
designs and those of others, among which are 
the following : 

The Holy Family; without his name; Chez Huart. 

The Holy Family, with St. Catharine and St. John; 
Chez Crartres. 

St. Agnes adoring the Infant Jesus in the arms of the 
Virgin Mary; after Lodovico Carracci; without 
name. 

BLANCHARD, Jean BapristE, known as ‘ BLAN- 
CHARD L’ONCLE,’ an historical painter, was born in 
Paris in 1595. He studied under Nicolas Bollery, 
his maternal uncle, and in 1624 accompanied his 
brother Jacques to Rome. He became an Acade- 
mician in 1663, and died in Paris in 1665. No 
record of his works exists. 

BLANCHARD, Laurent, a French historical 
and portrait painter, was born at Valence, in the 
department of Dréme, and died in Paris in 1819. 
He exhibited, amongst other works: 

The Marriage of Hercules with Hebe. 

Telemachus on the Island of Calypso. 

Venus complaining to Jupiter. 1812. 

St. John preaching in the Wilderness. 1812. 

A Holy Family. 1819. 


1804. 
1812. 


“ 


\ 


PAINTERS AND ENGRAVERS. 


BLANCHARD, TxHomas Mariz AvaustTE, en- 
graver, born in Paris, May 18, 1819. He was a 
pupil of his father and gained the second prize for 
engraving at the Institute. He devoted himself 
mainly to the reproduction of the masterpieces of 
the modern school, He gained a third-class medal in 
1843, a second-class medal in 1847, and a first-class 
in 1857. He also secured a third-class medal at the 
Universal Exhibition of 1867, and a second-class 
medal at the Universal Exhibition of 1878. He 
was a member of the Académie des Beaux Arts, 
succeeding Alphonse Francois on November 17, 
1888. He was a Chevalier of the Legion of 
Honour. His principal works were ‘The Repose 
in Egypt’ after Bouchot, ‘The Angel Gabriel’ and 
‘Head of Christ’ after Paul Delaroche, ‘ Faust 
and Marguerite’ after Scheffer, Frith’s ‘Derby 
Day,’ and others after Meissonnier, Tadema, etc. 
He died in 1898 at the great age of ninety-eight. 


Pee} 

BLANCHERI, Virrorio. See BLANSERI. 

BLANCHET, Tuomas, a French historical and 
portrait painter, was born in Paris in 1617, accord- 
ing to D’Argenville, although the registers of the 
Academy would place his birth in 1629. His 
genius at first directed him to sculpture, but after 
studying that art for some time under Sarrassin, 
he was advised to abandon it, on account of the 
delicacy of his constitution, and to apply himself 
to painting. After receiving lessons from Poussin, 
whose friend he became, he went to Rome, and 
frequented the studio of Albani, without adopting 
his style. He had also the advantage of study- 
ing under Andrea Sacchi, by whose instruction he 
much benefited. After passing some years in 
Italy, one of his friends took him to Lyons, where 
he settled; but he often visited Paris, where he 
painted, in 1662, forthe cathedral of Notre-Dame, 
‘The Ecstasy of St. Philip,’ now in the Louvre. 
He executed for the Hétel de Ville of Lyons some 
considerable works, which established his reputation 
as one of the ablest historical painters of his country, 
but these were almost entirely destroyed by fire in 
1674. He was admitted into the Academy as a 
portrait painter in 1676, and as an _ historical 
painter in 1682, on which occasion he painted for 
his picture of reception ‘Cadmus killing the 
Dragon,’ now in the Louvre. He founded the 
Academy at Lyons in 1681, and died in that city 
in 1689. 

BLANCUS, CurisTopH, an engraver, supposed 
to be a native of Germany, flourished about the 
year 1600. He engraved a few plates in the 
manner of Jan Miller, but with not much success. 
We have by him: 

A Holy Family, accompanied by Angels; half-length; 

after Spranger. 1595. 

The Portrait of Michelangelo Buonarroti. 1612. 

BLANCUS, JoHAanNEs Pavuus, (or BIANCHI,) 
according to Heineken, flourished about the year 
1682. We have some etchings by him, which are 
executed in a heavy, indifferent style. Among 
others are an emblematical print, after C. Stores, 
inscribed, Jo. Paul. Blancus incid., and ‘Christ 
praying in the Garden,’ without the name of the 
painter, dated 1682. 

BLANES, Bentro RODRIGUEZ. See Ropri- 
GUEZ BLANES. 

BLANKERHOF, Jan Trvnisz, called also JAN 
Maat, a Dutch painter of sea-pieces, was born at 
Alkmaar in 1628. He learned the first rudiments 
of the art from Arnold Teerlink, a painter of no 

143 


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A BIOGRAPHICAL DICTIONARY ¢ OF 


reputation, and became afterwards a scholar of 
Cesar van Everdingen. On leaving that master 
he went to Italy, and passed some time at Rome 
where the Flemish Society of Painters conferre 
on him the name of Maat (or comrade). He also 
spent some time in Candia. He was living in 
1674, but the date of his death is not known. His 
best pictures, in which he combined the truth and 
nature of the Dutch school with the grand scenery 
of Italy, represent storms on the coast of the 
Mediterranean. The Brussels Museum and the 
Schleissheim Gallery contain each a good specimen 
of his art. 

BLANSERI, Vittorio, (or BLANCHERI,) was born 
at Venice, about 1735, and was educated in the 
school of the Cavaliere Claudio Beaumont. He is 
considered his ablest scholar, and succeeded him in 
the service of the court of Turin, in which city are 
his principal works. Three of his pictures are in 
the church of San Pelagio, one of which, Sees 
ing ‘St. Louis fainting, supported by an angel,’ 
particularly admired. He died in 1775. 

BLARENBERGHE, Henri DEsiR# VAN, a French 
painter in water-colours, born at Lille in 1734, was 
the son of JACQUES GUILLAUME VAN BLARENBERGHE, 
* a painter, who died in 1742. His works are dis- 
tinguished by the charm of their composition and 
the delicacy of their execution, and are much 
sought after by collectors. He excelled in subjects 
in miniature painted upon snuff-boxes, bonbon- 
niéres, and rings, many of which have realized 
high prices when sold by public auction, At the 
Demidoff sale in 1863, a snuff-box in gold, painted 
with a view of the chateau of Bellevue, sold for 
11,000 francs. There are drawings by him in the 
Louvre, and some views of European capitals 
painted i in oil at Versailles. Blarenberghe died in 
Paris in 1812. He had a son, Louis Nicontas, who 
imitated his style so well that it is impossible to 
distinguish their unsigned works. The dates of 
his birth and death are unknown. 

BLASCO, Matias, was a painter of merit at Val- 
ladolid early in the reign of Philip IV. His style 
was simple and natural, and his colouring pleasing. 
He painted for the church of San Lorenzo at Valla- 
dolid a ‘Martyrdom of St. Lawrence’ which bears 
his signature and the date 1621. He also painted 
four pictures of miracles wrought by a favourite 
Virgin of the same church. 

BLEAVIT, —. This artist is mentioned by 
Strutt as an engraver of portraits, Among 
others, he engraved that of René Descartes, the 

philosopher. 

BLECHEN, Karu Epuarp FERDINAND, landscape 
painter, was born at Kottbus in 1798. Although 
his inclination for art developed itself very early, 
he first, in 1812, entered a banker’s business. He 
next occupied himself as a decorative painter. In 
the easel-pieces of his earlier period the influence 
of the Dutch painters manifests itself in a power- 
ful observation of nature in his technical treat- 
ment; in his conception, however, an uncommon 
fantastic disposition is noticeable—at times in- 
clining to the melancholy, at times to the romantic. 
A journey now undertaken to Italy disclosed to 
him his taste for pure art, and now at length he 
displayed in his pictures and sketches a keen 
insight, astonishing for his time, into the true 
characteristic of light and atmosphere in Italian 
landscape. At this period of his painting his 
former fantastic nature is only occasionally 
noticeable. In 1830 he was made teacher of the 

144 


landscape class at the Barlin Acute 


ay 
be looked upon as the founder of the modern 


Berlin school of landscape, in virtue especially of 
his more important Italian pictures. 
1840 at Berlin. In the Museum there is a‘ View — 
of Tivoli ;’ 


Collection of engravings there, 


BLEECK, Pieter van, a Dutch portrait painter, ~ 
and the son of Richard van Bleeck, painter of | 
portraits, was born at the Hague in 1695. Hewent 7] 
to London in 1723, was much employed, and died 
He engraved several plates in 


there in 1764. 
mezzotint, which, without any superior excellency, 


are clearly scraped, and have considerable merit. 
He sometimes marked his plates with the BB — 


annexed monogram. We have by him. 


Richard van Bleeck, painter; se ipse pina. P. van ce. 


Bleeck junior, fec. 1735, 
Rembrandt van Rijn; se ipse pinx. Van Bleeck. 1727; 
with the cipher. 


Francois du Quesnoy, called ae fnes ¢2% A 


van Dyck pine. P.V.B. Lf. 1751 
Nell Gwyn ; after Lely. 


Mrs. Clive, in the character of Phillida; P. van Bleeck a 


fec. 1735. 
Mrs. Cibber, in the character of Cordelia; the same. 


Griffin and Johnson, in the characters of Tribulation A 


and Ananias; the same. 
The Virgin Mary and Infant; after A. van der Werf. 
1748. 


BLEECKER. Several painters of this name : 


flourished at Haarlem during the 17th century. 
The name is found in various forms—Bleecker, 
Bleeker, Bliecker, Blieker, Blecker, and Bleker. 
The following are the most important: 
BLEECKER, Dirk, was a native of Haarlem, and 


flourished in the 17th century. In the Gallery at — a 


Brunswick is an excellent portrait, which is sup- 
posed to be his own, painted by himself, and dated 


1617. He lived as late as 1652, the ‘date of a q 


painting by him of ‘ Mary Magdalene.’ 


BLEECKER, Grrrrr Ciansz, who died at Haar- _ 


lem in 1656, distinguished himself there as a 
painter of landscapes and figures. 


BLEECKER, JAN Gaspar, was born at Haarlem 
in 1608. He was a painter, "put is more especially 
known by his engravings, which are rather scarce. 


The Brunswick Gallery has a painting of ‘St. Paul 
and St. Barnabas’ 


which the following are the principal: 


SUBJECTS FROM HIS OWN DESIGNS. 


A Landscape, with Jacob and Rachel. 

A Landscape, with Rebekah and the servant of Abraham. 
A Peasant and a Woman riding in a waggon. 

A similar subject. 

A Landscape, with a carriage at the door of aninn. 1643. 


A Landscape, with a woman milking a cow, and a a 


peasant. 1643. 
A Landscape, with cattle. 
A Landscape, with a woman on horseback. 
A Landscape, with figures on horseback. 
A Landscape, with a shepherd watching his flock. 


SUBJECTS FROM CORNELIS POELENBURG, IN THE 
STYLE OF REMBRANDT. 


Jacob and Laban dividing their flocks; J. G. Blecker. 
aq. fort. 1638. 


The Lystrians wishing to sacrifice to Paul and Barnabas; — q 
8. 


same mark. 163 
The Crucifixion ; C. P. ping. I. C. B. 


BLEEK, Pieter van. See BLEEoK. 


BLEKERS, Norpert, a Dutch painter, was born - | 


He died in — 


and the majority of his water-colour 
drawings and sketches are now in the Royal ¥ 


by him. He etched several ] 
plates, both from his own designs and after other 
masters, executed in a slight and spirited style, of — 


_ at Haarlem about 1635. He painted history, and 
was patronized by the Prince of Orange, for whom 
he painted one of his best pictures, representing 
_ the ‘Triumph of Venus.’ Vondel, a poet of his 
_ country, has celebrated the works of this painter. 
He died at Haarlem in 1682. 
BLES, Davin, Dutch painter, born at the Hague 
on September 19, 1821. Studied historical painting 
under Cornelis Kruseman. He went to Paris at 
the age of twenty, where he stayed several years, 
visiting England and Belgium. His pictures were 
_ imbued with a somewhat melancholy and satirical 
humour. He figured at the Paris Exhibition of 
1855 with four pictures which attracted attention ; 
two of these, ‘Le Directeur des Femmes’ and‘ Un 
jeune ménage et la vieille tante, were inspired by 
the satires of Boileau. He also contributed to the 
Exhibition of 1878, when he was decorated with 
the Legion of Honour, besides several foreign 
orders. His death occurred at the Hague towards 
the end of 1899. P.P. 
~ BLES, Henprix, commonly called Herri mer 
DE BLES (with the forelock), was born at Bouvignes 
_about 1480. He imitated the style of Joachim 
Patenier, under whom he is supposed to have 
studied at Antwerp, and painted in the stiff and 
dry manner of his time. He generally introduced 
into his landscapes scriptural subjects, with a 
number of neatly drawn figures. Instead of mark- 
ing his works with his name, he usually painted an 
owl in one of the corners, for which reason the 
Italians nicknamed him ‘Civetta.’ He died at 
Liége about 1550 (the Berlin Gallery Catalogue 
says “after 1521”). His pictures are very curious, 
and much esteemed We note the following: 


is 


Berlin. Museum. Portrait of a Young Man. 
Florence. Uffizi. Landscape with ruin. 
London. Nat. Gali. Christ on the Cross. 

* re The Magdalen. 
Modena. S. Pietro. Pieta. 
Munich. Pinakothek. Adoration of the Kings. 
Venice. Accademia, Tower of Babel. 


_ BLESENDORF, Oonsrantin FRriepricu, the 
brother of Samuel Blesendorf, was born at Berlin 
in 1675. He was a miniature painter in water- 
colour and oil, and an engraver, and worked chiefly 
for the booksellers. He died in 1754. We have 
by him: 
A Frontispiece for Julian’s Opera; S. Blesendorf inv. 
C. F. Blesendorf fee. 
Frontispiece for Beyer’s Thesaurus Antiquitatum ; F. C. 
Blesendorf fee. 
ce of Frederick William, Elector of Brandenburg. 


BLESENDORF, Samvet, a Prussian enamel 
painter and engraver, was born at Berlin in 1670. 
He designed and engraved several portraits for 
Puffendorf’s ‘History of Sweden.’ He worked 
chiefly with the graver, and his plates are very 
neatly finished. He died in 1706. Among others 
we have by him: 

Charles XI., King of Sweden. 

Charles XII. 

Frederick Rudolph Louis, Baron of Canitz. 

Samuel, Baron of Puffendorf. 

Frederick III., Elector of Brandenburg. 1696. 

Frederick William, Prince Electoral. 

Frederick William ; after Adam de Clerc. 

The Portraits of John Frederick of Brandenburg, Mar- 

grave of Anspach, and the Margravine, in a garden ; 
after Gasp. Netscher. 1682; very fine. 


BLEYSWYCK, F. van, a Dutch engraver, who 
flourished at Leyden from about 1720 to 1746. He 


L 


PAINTERS AND ENGRAVERS. 


engraved many portraits for the publications of his 
time, which are highly finished, but without much 
taste. Among these are some of the plates for Hof- 
man’s ‘ Portraits historiques des Hommes illustres 
de Dannemark,’ dated 1746. He also engraved 
some small landscapes, in which the point and the 
graver are handled with great delicacy. 

BLICKE. See Buigx. 

BLIECKER (or BuIzEKER). See BLEECKER. 

BLIEK, DANIEL VAN, (or BLICKE,) was a good 
painter of interiors and exteriors of churches and 
other public buildings; he lived at Middelburg 
from about 1650 to 1661. His manner of painting 
resembles that of Van Vliet. The Berlin Museum 
has the Interior of a Church, by him, signed and 
dated 1653. 

BLIN, Francois, a French landscape painter, 
who was born at Rennes in 1827, studied under 
Picot, and exhibited at the Salon from 1852 to 
1866, in which year he died in his native town. 
His paintings were often of a gloomy character, 
but showed a close study of nature. The follow- 
ing are the best: 

Ruins of the Castle at Guildo; in the Lille Museum. 

The Old Mill at Guildo. 

A Summer Evening at Sologne. 

BLINKVLIET, M. The exact time when this 

painter flourished is unknown; but he imitated 
Berchem so successfully that his works have been 
ascribed to that master: probably they were con- 
temporaries, 
_ BLOCH, Cuarues Henry, Danish painter, born 
at Copenhagen May 23, 1834. At the age of 
fifteen he left the school of Marine Cadets for that 
of the Beaux Arts, where he carried off all the 
prizes. In 1859 he gained a scholarship for Rome, 
where, with the exception of a brief interval, he 
resided until 1865. He became a member of the 
Academy of Copenhagen, and Professor at the 
school of Beaux Arts there. His pictures are 
chiefly remarkable for their facile technique and 
genuine dramatic effect. He excelled in portray- 
ing the semi-comic side of Italian convent life, 
but at times gained an unenviable notoriety by 
his too free treatment of sacred ceremonies. He 
gained a first-class medal and decoration of the 
Legion of Honour at the Universal Exhibition of 
1878. He painted two pictures for the Oratory of 
Fredericksborg, entitled ‘ Visit of Mary to Eliza- 
beth’ and ‘ Jesus Christ Healing a Blind Man.’ His 
death took place at Copenhagen on February 22, 
1890, P, P. 

BLOCHOM. See LocHom. 

BLOCK, Bensamiv, the son of Daniel Block, was 
born at Libeck in 1631. He was instructed in 
art by his father, and proved a reputable painter 
of history and portraits. The Prince of Mecklen- 
burg, in whose service his father passed a great part 
of his life, took him under his protection, and sent 
him to Italy for improvement. He visited Rome, 
Naples, and Venice, and met with employment as 
a portrait painter in each of those cities. On his 
return from Italy he was invited to the court of 
Saxony, where he painted portraits of the electoral 
family and the principal courtiers. He died at 
Ratisbon about 1690. His historical works were 
altar-pieces for the churches in different parts of 


Germany. He was also a good engraver. The 
following portraits are his best plates: 
Friedrich Wilhelm, Elector of Brandenburg. 
Marquard Schenk von Castell. 
Wilhelm Ludwig, Duke of Wiirtemberg. 
145 


VS RO PR Ay ee ee “) 
NK ee Be ae oa ae a ee 


A BIOGRAPHICAL DICTIONARY OF 


BLOCK, DANIEL, a painter of portraits, was born 
at Stettin, in Pomerania, in 1580. He was a scholar 
of Jakob Scherer, a portrait painter of reputation, 
under whom he soon became proficient; and he 
ultimately surpassed his instructor. He was em- 
ployed at the courts of Denmark and Sweden, and 
passed many years in the service of the Duke of 
Mecklenburg. By the exertion of very reputable 
talents he gained a large fortune, of which he was 
deprived by plunder. He died in 1661. 

BLOCK, Jacos Roger, a Dutch painter, was born 
at Gouda in 1580. He went to Italy when he was 
very young, and applied himself particularly to 
the study of architecture and perspective. He 
made designs of the fine remains of antiquity in 
the environs of Rome, and, on his return to 
Holland, painted some pictures composed from 
those subjects, which were highly esteemed. Hou- 
braken reports that Rubens, in a journey he made 
through Holland, visited this artist, and on seeing 
his works, pronounced him the ablest painter of 
his country in the subjects he represented. He 
also excelled in military architecture, and was 
taken into the service of the Archduke Leopold, 
whom he accompanied in some of his campaigns. 
He was killed by a fall from his horse in 1632. 

BLOCKLANDT, ANTONIS VAN. See MoNTFOORT. 

BLOEM, A., was a native of Germany, and 
resided at Vienna in the seventeenth century. He 
was chiefly employed by the booksellers. He en- 
graved the portraits, views, battles, &c. for a book 
entitled ‘Istoria di Leopoldo Cesare,’ published 
at Vienna in 1674. The plates are etched, and 
finished with the graver. 

BLOEM, M., is the author of a picture of ‘ Dead 
Game,’ in the Hermitage, St. Petersburg, which 
bears his name and the date 1653 ; another picture 
of still-life in the same gallery is also attributed to 
him. No details of his life are recorded. 

BLOEMAERT, Apranam, a Dutch painter and 
engraver, was born at Gorcum about 1564. He was 
the son of an architect and sculptor, who placed 
him under the tuition of Joost de Beer, but he 
seems to have profited most by studying and copy- 
ing the works of Frans Floris. In 1581 he went 
to Paris, where he stayed three years, studying 
under Jean Bassot and Herry, two unimportant 
painters. On his return to his native country he 
studied at Herenthals under Hieronymus Francken. 
He subsequently painted at Amsterdam and at 
Utrecht, where he died about 1658. He painted 
history and landscapes, allegory, mythology, ani- 
mals, and flowers, and was a very productive artist. 
His colouring is excellent, but his drawing is very 
defective, and frequently negligent. The following 
are his best works: 

Berlin. Museum. Joseph’s Dream. 
Copenhagen. Gallery. The children of Niobe killed by 
the arrows of Apollo (painted 


for the Emperor Rudolph. 
Signed). 
> a Hercules and Omphale; Venus 
and Adonis. 
Hague. Gallery. Hippomenes receiving the prize 
(segned and dated 1626). 
a The Marriage of Peleus (signed 
and dated 1638). 
Munich. Pinakothek. Raising of Lazarus (dated 1607; 
one of his best works). 
Paris. Louvre. Nativity (signed and dated 1612). 
Utrecht. Gallery. Adoration of the Kings. 


Bloemaert numbers among his scholars his 
four sons, and Jan Gerritsen Cuyp, Gerard and 
146 


al a te 
, 
oY 


yy 


Willem van Honthorst, Jan and Andries Both, a 


Cornelis van Poelenburg, and Jan Baptist Weenix. 
As an engraver, he has a claim to considerable __ 


attention. We have by him a number of plates 
etched in a free, bold, and masterly manner, some 


of which are in imitation of pen-drawings. But 


his most esteemed prints are those executed in 
chiaroscuro, the outlines of which, contrary to the — 
usual process, are not cut on the blocks of wood, 
but are etched oncopper. These are very spirited, 
and produce a good effect. His prints are some- 
times signed with his name at full length, but 
more frequently marked Ab. Bl. in., or A. Bl., or 
thus, A. Bloem. 

The following are his principal prints: 

ETCHINGS BY A. BLOEMAERT. 

St. John, with a lamb. sie - 

The Magdalene penitent 

St. Peter penitent. 

The Holy Family; J. Starterus exc. 

Juno. ‘ 

Four Landscapes, with figures and animals. 

PRINTS IN CHIAROSCURO. 

Moses and Aaron. 

The Virgin and Infant Jesus. 

The Holy Family. 8 

Two Busts, the Virgin Mary and St. Joseph. 

St. Simon, with the Instrument of his martyrdom. 

The Magdalene, with a crucifix. 

St. Jerome reading; A. Blo. 

Another St. Jerome ; after Parmigiano ; marked F, P. 

A naked Infant; after Titian. : 

A Woman with a veil; after Parmigiano. 

BLOEMAERT, Apriaan, was the fourth son of 
Abraham Bloemaert, and received his first instruc- 
tion from his father. He was sent to Italy, where 
he studied some time. He afterwards visited 
Vienna, where he met with employment, and ulti- 
mately settled at Salzburg, and was killed in a 
duel in 1668. He painted history and portraits with 
some success. Heineken attributes to this artist 
several plates of portraits, although they are 
without his name. 

BLOEMAERT, CorNELIS, a very eminent en- 
graver, the third son of Abraham Bloemaert, was 
born at Utrecht in 1603. He was instructed by 
his father in the first principles of design, and 
from a natural inclination for engraving, he de- 
voted himself entirely to that art. His first master 
was Crispyn van de Passe, and it was not long before 
he surpassed his instructor. In 1630 he went to 
Paris, where he distinguished himself by some 
plates he engraved for the ‘Temple of the Muses.’ 
From Paris he went to Rome, where he fixed his 
residence, and where he lived the greater part of 
his life. He died there in 1680. This admirable 
artist distinguished himself not only by the beauty 
of his graver, but by a talent, unknown before 
him, of effecting an insensible gradation from his 
lights to his shadows, and introducing a delicate 
variety of tints, in the different distances in his 
subject. Previous to his time there was a great 
inattention to harmony, the lights being left in- 
discriminately clear, so that the picture was ren- 
dered spotty and incongruous. By this essential 
improvement he has established his claim to origin- 
ality, and may be said to have given birth to that 
admirable style which was afterwards so success- 
fully followed by the great engravers of the 
French school, Audran, Baudet, Picart, and Poilly. 
His works are universally admired; they are 
numerous, and several of them are become very 
scarce. Some of his prints are marked C. Bl. and 


1593. 


others Corn. Blo., or C. Blo, The following are 
the principal : 

SUBJECTS FROM HIS OWN DESIGNS. 
Se Bonisignus, secretary to Prince Leopold; 
Giovanni Battista Toretti, Florentine ; Rome. 

P. de Grebber; P. Haarlem consee.; C. Blo. sc. 

J. Doens, Scot. Theol. 

Jacques Faverau ; after Diepenbeeck ; oval. 

Moses in the Bulrushes. : 

The Virgin Mary, and the Infant Jesus caressing her. 

A Thesis, with three of the Popes in niches, 

A vers, where St. Ignatius is presented with a 

ap. 
SUBJECTS AFTER ABRAHAM BLOEMAERT. 

_ Bartholomeus Aribertus, liber Baro Malgrati. 
Athanasius Kircher, Jesuit. 

Cardinal Francesco Peretti di Montalto. 

a wee af D. pone, . . 

e Virgin , with the Infant Jesus sleeping. 

The Infant Ji all with a Glory. yi 

The Assumption of the Virgin; fine composition. 

St. Jerome in the Desert. 

The Four Doctors of the Church disputing on the 
Sacrament. 

St. Francis kneeling before the Infant Christ. 

Christ carrying His Oross, and St. Ignatius ; very fine. 

Avarice, an old Woman counting money by candlelight. 

Liberality, a young Woman giving drink to a child. 

An old Woman warming her hands at a stove. 

_A half-length figure playing the Romel-pot, called the 

_ Mustard Grinder. 

Four, called Travellers reposing. 

Two landscapes, in one a woman with a basket, sitting 
under a tree, and in the other, a woman sitting ; fine 
and scarce. 

se m, the twelve Months of the Year, and the 


ac. 
A Cat, with a Rat under her paws; fine. There are 
many copies of this plate. __ 
~The great Owl, with a pair of spectacles and a book. 


‘SUBJECTS AFTER ITALIAN MASTERS, ETC. 


The Virgin, with the Infant seated on a throne, with 
St. Roch and St. Sebastian ; after Baroccio. 

The Holy Family, with St. Joseph with Spectacles; 
after Carracct. 

The Orucifixion ; after the same. 

St. Margaret; after the same. 

The Nativity ; after Pietro da Cortona. 

The Virgin and Infant Jesus, with St. Martha holding 
the Palm of Martyrdom; after the same. 

The Birth of Christ ; after Schiavone. 

cs Genius of Poetry distributing wreaths ; a circular 

a 


plate. 
St. John in the Wilderness; Videns Joannes, &c. ; after 
- Ciro Ferri. 

Christ at table with His Disciples; after the same. 

The Resurrection ; after the same. 

St. Paul preaching at Athens; after the same. 

The Holy Family, with St. Francis kneeling; after the 
same, 

St. Anthony of Padua kneeling before the Infant 
Jesus; after the same. 

St. Peter raising Tabitha from the dead; after Guer- 
cino ; extremely fine. The most capital plate of this 
master. 

The Virgin Mary adoring the Infant Jesus sleeping ; 
after Guido. 

The Annunciation ; after Lanfranco ; inscribed Spiritus 
sanctus, &c. 

St. Luke painting the Virgin and Infant ; after Raphael. 

The Adoration of the Shepherds; after the same. 

The Holy Family ; after Parmigiano. 

The Resurrection ; after Paolo Veronese. 

The Virgin and Infant Christ ; after Titian. 


BLOEMAERT, FReperix, the second son of 
Abraham Bloemaert, was born at Utrecht about the 
year 1600, and distinguished himself as an en- 
graver. He learned the art from his father, and 
was chiefly occupied in engraving after his designs. 


L2 


PAINTERS AND ENGRAVERS. 


We have a number of etchings by him as well 
as prints in chiaroscuro. His principal work was 
a drawing-book, containing 173 plates, engraved 
from the designs of his father. He also executed 
a few plates entirely with the graver. His prints 
are sometimes signed A. Bloem. inv. F. B. filius 
Jecit, and sometimes /. B. The following are 
principally after his father’s designs : 

Twelve of the Archbishops and Bishops of Utrecht, 

two of which are by Corn. Bloemart. 

Thomas a Kempis. 

St. Francis in a Hermitage. 

The Body of Leander on the sea-shore. 


A set of sixteen figures of Men and Women; marked 
Bro. Fels 


A set of thirty, of Beggars; on the title is inscribed 
Nudus inops mutilus, F. B. fec. 

The Five Senses. 

The Four Seasons. 

Twenty Landscapes; F. B. filius fecit et exc. 

A Landscape, with a Pigeon-house. 

Fourteen of Animals and Birds; entitled Verscheyde 

Besten und Vogelen. 

Four of Cock-fighting ; De Hanabijters. 

BLOEMAERT, HeEnprix, was the eldest son of 
Abraham Bloemaert. He painted portraits, but 
never rose above mediocrity. He died in 1647. A 
portrait of aman signed BLoEMAERT AtratTis 50, 
A. 1643, in the Hermitage at St. Petersburg, is 
attributed to him. 

BLOEMEN, Jan FRAns VAN, called Orizonre, 
was born at Antwerp in 1662. His pictures bear 
no resemblance to the taste of his country, which 
may be accounted for by his having visited Italy 
when he was very young, and having there passed 
the remainder of his life. He there studied under 
Antonius Goubau. He died at Rome in 1740 (?). 
The name of Orizonte was given bim by the Society 
of Flemings at Rome on account of the beauty 
and delicacy with which he painted the distances 
in his landscapes. His works are well known in 
this country, and are justly esteemed. Inferior to 
Gaspard Poussin, he may still be ranked among the 
able painters of landscape. He made choice of 
the most interesting views in the vicinity of Rome 
and Tivoli, which he represented with great truth 
and even grandeur. In his forms, as well as in his 
touch, he appears to have imitated the fine style of 
Gaspard Poussin, and in some of his best pictures 
(for he is very unequal) he has approached the 
picturesque beauty of that admirable painter. He 
was also influenced by Claude Lorrain. There is 
scarcely a palace at Rome that is not ornamented 
with some of his works. His best pictures are in 
the pontifical palace at Monte Cavallo, and in the 
Colonna, Doria, and Rospigliosi palaces. The 
Louvre has six landscapes by him, the Vienna 
Gallery three, the Hermitage St. Petersburg three, 
the Berlin Museum one, the Milan Gallery one, 
and the Dresden Gallery one. He etched five 
plates of views near Rome, executed in a bold 
and masterly style. 

BLOEMEN, Norsert vAN, called CEPHALUS, the 
youngest of the three brothers, was born at Ant- 
werp in 1670. He studied and painted portraits 
and conversation-pieces in Rome, and afterwards 
returned to his native country and settled at 
Amsterdam, where he died in 1746. 

BLOEMEN, PIETER vAN, called STANDAART, or 
SreNDARDO (Standard), a brother of Jan Frans 
van Bloemen, was born at Antwerp in 1657. 
Following the example of his brother, he went to 
Italy for improvement. The name of Standaart 
was given him by his countrymen at hone ‘pbs 


ia) oe, ee  — 2 oF 


A BIOGRAPHICAL DICTIONARY OF | : 


his occasionally painting attacks of cavalry. After 
passing some years in Italy he returned to Flan- 
ders with the studies he had made from the 
objects worthy of notice in the neighbourhood of 
Rome. In 1699 he was made director of the 
Academy at Antwerp; he died therein1719. The 
pictures of this master represent battles, the march 
of caravans, horse-fairs, &c., ingeniously composed, 
with a number of figures, horses, and other animals, 
extremely well drawn, and painted with uncommon 
freedom and spirit. He decorated his landscapes 
with the ruins of architecture and statues from 
the studies he had made in Italy, and his figures 
are designed in a superior style to the usual taste 
of his country. The Dresden Gallery has six pic- 
tures by him, the Vienna Gallery two, the Frank- 
fort two, the Hermitage St. Petersburg one, and 
the Copenhagenone. He etched some of his own 
works. 

BLOEMERS, Arnoxpvus, born at Amsterdam in 
1792, painted flowers, fruit, and animals. He 
was instructed by Antonie Piera, but principally 
imitated Van Huijsum. He died at the Hague in 
1844. The Rotterdam Gallery has a flower-piece 
by him. 

BLOIS, Apranam DE. See De Buols, 

BLOK, Anna C. See FIscHer. 

BLOK, JoHanna. See KoERTEN. 

BLOKLANDT, Anronis van. See Monrroorr. 

BLOMBERG, Aveust GorrHoLp DierricH Huao, 
BARON VON, a poet and painter, was born at Berlin 
in 1820. He studied under Wach in the Academy 
at Berlin, and under Léon Cogniet at Paris, and 
copied Rubens’s works in the Louvre. He died at 
Weimar in 1871. Among his paintings may be 
mentioned : 

‘Das Dornroschen.’ 1844. 

Neptune and Amymone. 1847. 

Twenty-seven sketches from Dante. 

A Town of the Middle-Ages. 

The Merchant of Venice. 1866. 

Benvenuto Cellini in Engelsberg. 

King William at Koniggratz. 1867. 

BLOMMENDAAL, Reyer Jacossz, a painter of 
Haarlem, entered the Guild of that city in 1662, 
ae died there in 1675. Nothing further is known 
of him. 

BLOND, Lz (or Buon). See LE Buonp. 

BLONDEAU, Jacquzs, a French engraver, was 
born at Langres about the year 1639. He en- 
graved at Rome several plates after the Italian 
painters, and some after the pictures of Pietro da 
Cortona in the Pitti Palace at Florence. He seems 
to have imitated the style of Cornelis Bloemaert, 
but he never in any way equalled that fine engraver. 
He also engraved some portraits, without putting 
his name on the plates. We have by him the 
following: 

PORTRAITS. 

Cardinal Francesco Lorenzo Brancati. 

Cardinal Fortuna Caraffa. 1686. 

Cardinal Maximilian Gandolfi. 1686. 

Cardinal Opitius Pallavicini. 

General Enée, Count of Caprara. 

René d’Est, Duke of Modena. 

John George III., Elector of Saxony. 

John Sobieski, King of Poland. 

Cardinal Bichi; after Bourgignon ; oval. 


1681. 


SUBJECTS AFTER VARIOUS MASTERS. 


The Pulpit of St. Peter; after Bernini. 

The Magdalene, half length; after Calandrucet. 

The Martyrdom of St. Laurence ; after Pietro da Cor- 
tona, 


148 


apRT cTecioe iis Lassi Dial Sk Soul ao 
VON Grohe ae ew een 
ae a Say eT Saeko 


eo 


Eight allegorical subjects; from the pictures by Pietro 
da Cortona, in the Pitti Palace; small plates. 
The Circumcision ; after C. Ferrt. 2° ee ean 
The Crucifixion ; after the same. {a a 
St. Augustine appearing to St. Theresa; after the 
same. ; Sli ay a 


BLONDEEL, Lanstoot, or LANCELOT, who was — i. 


born at Bruges about 1495, was originally a 
mason, on which account he took a trowel as his — 


monogram. He did not turn his attention towards 


art until he was twenty-five years of age. His 
pictures display a study of the Italian style, and are 


noticeable for architectural backgrounds. Speci- a 


mens are in the churches of Bruges and elsewhere. 
A ‘Last Judgment’, in the Berlin Gallery, formerly 
given to him, is now thought to be possibly by 
Jehan Bellegambe. Blondeel designed the chim- — 
ney-piece in the Council Hall at Bruges, which 
contains statues of Charles V. and other monarchs. | 
He died at Bruges in 1560. : 
BLONDEL, JEAN Francois, a French architect — 
and engraver, was born at Rouen in 1705. He 
came to Paris in 1739, and opened a school, the 
fame of which gained him admission into the 
Academy in 1755. He published a description of 
the fétes given by the city of Paris in 1740, on 
the marriage of Madame Louise Elizabeth of _ 
France with Don Philip, Infant of Spain. The. 
plates, representing the temporary buildings, fire- 
works, &c., are chiefly engraved by himself. He 
also etched the plates for some large volumes on 
Architecture, published by himself. Blondel diced 
in Paris in 1774. rE 
BLONDEL, Merry Josepu, a French historical 
painter, was born in Paris in 1781. He was a 
pupil of Regnault, carried off the grand prize in 
1803, and was elected a member of the Institute in 
1832. His principal works are—‘ Philip Augustus 
at Bouvines’ (1819), painted for the Duke of 
Orleans ; ‘The Fall of Icarus,’ and ‘ Molus letting 
loose the Winds against the Trojan Fleet;’ the 
grand staircase of the Louvre, the ceiling of the 
hall of Henry II., and that of the Grand Hall, in 
the same building; ‘ Justice protecting Commerce,’ 
six very effective bas-reliefs in grisaille in the 
Bourse at Paris; the Gallery of Diana, at Fon- 
tainebleau ; ‘Homer at Athens,’ and ‘Zenobia on 
the Shore of the Araxes,’ formerly in the Luxem-— 
bourg; ‘The Surrender of Ptolemais to Philip 
Augustus,’ at Versailles, and several others. He 
died at Paris in 1853. 
BLOOT, PirrEer pe. See Dre Buoor. 
BLOOTELING, Apranam, (or BLOTELING,) a 
very eminent Dutch designer and engraver, was - 
born at Amsterdam in 1634. From the style of 
his etchings it is not unlikely that he was brought 
up under the Visschers. On the inroad of the 
French into Holland in 1672, he came to England, 
where he met with encouragement, but did not 
reside here longer than two or three years. This 
laborious artist produced a great number of etch- 
ings, some plates executed with the graver, and 
several in mezzotint. In 1685 he published the 
collection of gems of Leonardo Agostini, etched 
by himself. He died after 1698. He some- 
times signed his plates with his name at length, 
and sometimes marked them with a cipher, com- 


posed of A and B, thus AB . The works of 
this engraver are sufficiently interesting to excuse 
our giving a more than usually detailed list of 
them: 


ETCHINGS AND PLATES WITH THE GRAVER. | 
PORTRAITS. 


eae Sydenham, Bishop of Worcester; after Mrs 

eale. 

John Wilkins, Bishop of Chester; after the same. 

Anthony, Earl of Shaftesbury ; after Greenhill. One of 
the scarcest prints of this artist. 

Edward, Earl of Sandwich ; after Lely. 

Edward, Earl of Montagu; after the same. 

James, Duke of Monmouth ; after the same. 

Cornelis Tromp, Admiral of Holland ; after the same 

Prince Rupert ; after the same. 1673. ~ 

Aert van Nes, Admiral of Holland; Z. de Jonghe pinz. 

Constantijn Huygen ; after Netscher. 

John Henry Thim ; 4. Stech pine. 

Jerome de Beverningh ; after Vaillant. 

Willem van Haren; after the same. 1680. 

Egbert Meesz Kortenaer, Admiral of Holland; Bart. 
van der Helst pine. 

The em a de Mirabelle; after Van Dyck. , 

Ferdinand de Fiirstenberg, Bishop of Paderborn; A. 
Bloteling sc. 1669. 

Michel Adriaensz de Ruyter, Admiral; Bloteling fee. 
aqua forti. 

Sir Thomas More, Lord High Chancellor. 

Edward Stillingfleet, Canon of St. Paul’s. 

Henry, Duke of Norfolk. 1678. 

Jane, Duchess of Norfolk. 1681. 

Augustus Stellingwerf, Admiral of Friesland. 

Cornelis de Wit, Vice Admiral of Holland. 

Tierck Hides de Fries, Admiral of Friesland. 

Cornelis Speelman, Vice Admiral. 


VARIOUS SUBJECTS AFTER HIS OWN DESIGNS 
AND OTHER MASTERS, 


Twelve Views of Gardens; inscribed Alcune Vedute, &c. 

Kighteen circular plates of subjects of sacred history, 
with flowers; A. Bloteling fec. 

A Landscape, with Diana bathing; J. van Neck pinz. ; 
A. Bloteling exc. 

A Landscape, with Alpheus and Arethusa; the same. 

Six Views of the Environs of Amsterdam; Jac. Ruis- 
dael inv.; A. Bloteling fee. 1670. 

Actzon devoured by his Dogs; G. Flink pinz. 

A Shepherd playing on his Pipe, with a Shepherdess ; 
after the same. 

The Golden Age; G. Lairesse pinx.; NM. Visscher exc. 

The Marriage of St. Catharine; after Raphael. 

Two Heads of Children; after Rubens; rare; some 
impressions have the name of Rubens. 

The Study of the Head of a Man; after Rubens; A. 
Bloteling fec. et exc.; rare. 

Four Studies of Lions; after Rubens ; inscribed Varie 
Leonum Icones, a P. P. 

Two Huntings of the Boar and Stag; fine. 


PRINTS IN MEZZOTINT, 
PORTRAITS. 


Justus Lipsius ; A. Bloteling fec. 

Michelangelo Buonarroti; A. Bloteling fec. 

Frans Mieris, painted by himself; A. Bloteling fec. 

Jan de Wit, Grand Pensionary of Holland; after De 
Baan. 

Cornelis de Wit, the brother of Jan; after De Baan. 

Staverinus, an old Jew, holding a Medal: Corn. Bega 


na. 

Titas Oates; Hawker pine. 

Desiderius Erasmus; H. Holbein pine. 1671. 

Henry Bennet, Earl of Arlington ; after Lely; oval. 

Charles, Earl of Derby ; after the same. 

Abraham Symmonds, an artist ; after the same. 

Queen Catharine ; after the same. 

William Henry, Prince of Orange ; after the same. 1678. 

Nell Gwyn ; P. Lely pine. 

Mary of Modena, Duchess of York; after the same. 

Cornelis Tromp, Admiral of Holland ; after the same. 

Michiel Adriensz de. Ruijter, Admiral of Holland; J. 
Ttevens pinz. 

The Emperor Leopold I.; C. Morad pinz. 

Henry Casimir, Prince of Nassau ; M. van Muscher pinz. 

Portrait of a Venetian Lady ; Titiano inv. 

Constantijn Huygens; B. Valliant pinz. 

Jan de Cronefeld ; after the same. 


PAINTERS AND ENGRAVERS. 


VARIOUS SUBJECTS FROM HIS OWN DESIGNS AND 
OTHER MASTERS, 


The Five Senses ; after C. Bega. 

The Four Ages; circular ; after the same. 

Hercules destroying the monster ; G. Lairesse ping, 
St. Peter penitent ; after P. Moreels. 

A Landscape, with mythological figures; F. de Neve 


pine, 

The Temptation of St. Anthony ; Cam. Procaccini pinz. 

A Man holding a glass; Rostrate pine. 

Bust of a Man; circular. 

Bust of a young Man crowned with laurels ; circular. 

Bust of Hippolyta ; oval. 

Two Heads, with Phrygian and Grecian Head-dresses ; 
‘one plate. 

The Satyr, and a Peasant ; oval. 

Vanitas, a Child blowing bubbles. 

Abundance, a figure sitting. 

The head of a Vestal, crowned with roses. 

Small bust of Jupiter ; circular. 

Small bust of Venus; same. 

Half length of a Boy holding a Cat. 

Cupid and Psyche. 

A Blind Man playing on the Flute. 

Andromeda, 


BLOT, Maovricz, a French line-engraver, was born 


in Paris in 1754. He was a pupil of Augustin de 
St. Aubin, and engraved some portraits and fancy 
subjects in a neat style. 
We have by him: 


He died in Paris in 1818. 


L’Occupation du Ménage, and Companion ; after Aubry. 

La Promesse de Mariage, and Le Verrou; after Fra- 
gonard. 

Marcus Sextus; after Guérin. 

Meditation ; after Guido. 

A Boy blowing bubbles; after F. Mieris, 

Mars and Venus; after WV. Poussin. 

La Vierge aux Candélabres; after Raphael. 

Vanity ; after Leonardo da Vinci. 

The Judgment of Paris; after Van der Werf. 

The Dauphin and Madame Royal, the children of Louis 
XVI.; after Madame Le Brun. 1786. 

Giovanni Angelo Braschi, Pope Pius VI., a frontispiece 
for the Life of that pontiff. 1799. 

Jupiter and Io; after Regnault (Musée Frangais). 

Jupiter and Calisto; after the same (Musée Frangais). 

André Guillaume de Géry, abbé of St. Genevieve ; after 
himself. 


BLOTELING. See BLoorELine. 
BLUNCK, Dirtev Conrad, who was born at 


Breitenburg, near Itzehoe, in 1799, studied from 
1814 to 1827 in the Academy of Copenhagen, under 
Eckersberg. 
spent ten years, and was much influenced by the 
style of Carstens. 
lived at Vienna and at Hamburg, where he died in 
1853. Among his best works are the following : 


In 1828 he went to Rome, where he 


On his return from Italy he 


Christian IV. at Rothenburg. 1823. 

Elijah raising the Widow’s Son to life. 1827. 

The Four Ages of Man. 

Manifestation of God to 
Ezekiel. 1830. 

The Engraver at his work- 
table. 1826. 

Noah in the Ark. 

Thorwaldsen with Danish 
Artists in a Roman Inn. 


BLYHOOFT, Zacwarias, a Dutch painter, of 


In the Copenhagen Gallery. 


Lm the Thorwaldsen Mu- 
f seum, Copenhagen. 


whom but little is known; it is supposed that he 
lived at Middelburg between 1625 and 1700. Two 
pictures by him are noticed in the Catalogues of 
Hoet and Terwesten, and, in regard to their merit, 
compared to those of Netscher. : 
he is noticed here, as many pictures are ascribed to 
Netscher that resemble his manner, but are not by 
him. 


For this reason 


149 


il * 
Py 


y 


A BIOGRAPHICAL DICTIONARY OF 


_ BOCCACCINO, Boccaccto, was born at Cremona, 
it is believed, in 1460, and was either a pupil or 


BLYTH, Ropert, an English engraver, was born 
in 1750. We have some spirited etchings by him 
from drawings by John Hamilton Mortimer, A.R.A. 
He led a careless life, and committed suicide in 
1784. The following are his best plates: 


Three, of Studies; in the style of Salvator Rosa and 
De Lairesse. 

Four of the same, with inscriptions. 

Bust of an Oriental Chief. 1779; oval. 

Bust of an old Man; oval. 

Banditti going on an expedition. 1780. 

Banditti returning from an expedition. 1780. 

The Captive. 1781. 

The life and death of a Soldier ; four plates. . 

Fishermen. 

A Nymph, with a basket of flowers, sitting on the sea- 
shore, with a shepherd. 

Caius Marius reflecting on the ruins of Carthage. 

Nebuchadnezzar recovering his reason ; companion. 

Homer reciting his Verses to the Grecians. 


BOADEN, Joun, a portrait painter, exhibited 
his works for many years, between 1812 and 1838, 
at the Royal Academy and the Society of British 
Artists, He died in 1839. In the South Kensing- 
ton Museum is a portrait of the Rev. Chauncy 
Hare Townshend by him. 

BOATERI, Jacopo, a native of Bologna, and a 
pupil of Francia, flourished in the 15th century. 
He is known as the author of a‘ Holy Family,’ in 
the Pitti Palace, Florence. The dates of his birth 
and death are alike unrecorded. 

BOBA, GerorGE, a painter and engraver of the 
16th century, known by the name of Mairre 
GEORGES, was a native of Rheims, and is said by 
some to have been a disciple of Frans Floris, and 
by others of Titian. His name in full, or included 
in a monogram very small, is found on some etch- 
ings of landscapes with historical subjects, after 
Primaticcio; Bartsch gives an account of six of 
them. 

BOBADILLA, GERoNnIMo DE, a Spanish painter, 
was born at Antequera, a small town in the vicinity 
of Seville, in 1620. According to Palomino he was 
a scholar of Francisco Zurbaran, whose manner he 
followed. He excelled in painting historical sub- 
jects of amedium size and perspective views. 
He used a peculiar varnish on his pictures, 
which Murillo compared to crystal. He was 
a great collector of academic figures, drawings, 
models, and sketches of celebrated artists. He was 
one of the founders of the Academy at Seville 
in 1660, and continued to support it until his death, 
which took place in that city in 1680. 

BOBBIN, Tim, a name assumed by John Collier, 
the caricaturist. See CoLuizr. 

BOCANEGRA, Prpro ATANASIO, a Spanish 
painter, was born at Granada in 1638, He was a 
scholar of Alonso Cano, but, according to Palomino, 
improved himself in colouring by studying the 
works of Pedro de Moya and Van Dyck. In the 
cloister of Nuestra Sefiora de Gracia, at Granada, 
is a picture by him of the ‘Conception,’ and at the 
College of the Jesuits is one of his most esteemed 
works, representing the ‘Conversion of St. Paul.’ 
He died at Granada in 1688, He was vain and 
arrogant, and boasted his superiority to all the 
artists of his time; but on being challenged to a 
contest of ability by Mathias de Torres, he slunk 
from the trial, and left Madrid. His works were, 
however, much coveted, and no collection was 
considered complete without a specimen. The 
‘Death of St. Clara’ by him is in the Hermitage, 
St. Petersburg. 


150 


co-disciple of Domenico Panetti. Influenced by 
Mantegna, he became a celebrated painter, and — 
executed in Sant’ Agostino, at Cremona, several 
frescoes, in 1497. He visited Rome, but not being — 
successful with his ‘Coronation of the Virgin,’ in 
Santa Maria Transpontina, he returned to Cremona. 
Some of his works bear a strong resemblance to 
those of Perugino, particularly his ‘Marriage of 
the Virgin,’ and ‘The Madonna, with St. Vincent 
and St. Anthony,’ in the church of San Vincenzio at 
Cremona, which have been frequently regarded as 
the productions of Vannucci. One of his most 
admired performances is a frieze in the cathedral 
at Cremona, where he has represented the ‘ Birth 
of the Virgin,’ and some subjects from her life, 
painted in 1506—1518. In these Lanzi considers 
him inferior to Perugino in composition, less 
beautiful in the airs of his heads, and less vigor- 
ous in light and shadow, but richer in his drapery, 
more varied in colour, more spirited in his attitudes, — 
and perhaps not less harmonious and pleasing in 
his architecture and landscape. Lanzi observes of 
this painter, that he was the best modern among 
the ancients, and the best ancient among the 
moderns. He was one of the instructors of Ben- 
venuto Garofalo. His works extend from 1496 to 
1518, and this last date is usually given as the 
year of his death; but his will was made in January, 
1525 (new style), and an inventory of the pro- 
perty divided among his heirs, December 26th, — 
1525. The following are some of his best works : 
Cremona. Cathedral. Appearance of the Angel to 
Joachim. 1515. 
Meeting of Joachim and Anna 
Birth of the Virgin. 1515. 
Marriage of the Virgin. _ 
The Annunciation. 1508. 
The Visitation. 
Adoration of the Shepherds. 
The Circumcision. 
Christ reasoning with the Doc- 
tors. 1518. 
Christ between the four Patron 
Saints of Cremona. 1506. 
(All the above are frescoes. 
S. Quirico. Virgin and two Saints. 1518. 
Pinacoteca.Death of the Virgin. 
Nat. Gal. Procession to Calvary. 
Paris. Louvre. Holy Family. 
Venice. Acad, Marriage of St. Catharine. 
es S. Gea ae and Child with four 
alnts. 


BOCCACCINO, Camitto, the son of Boccaccio 
Boccaccino, was born at Cremona in 1511, and was 
brought up under his father. Educated in the 
Gothic maxims of Boccaccio, and only permitted 
the career of a very short life, he, however, formed 
to himself a style which was both pleasing and 
grand; and he was considered as the greatest 
genius of the Cremonese school. In 1537 he 
painted in the niches of the cupola of San Sigis- 
mondo the ‘Four Evangelists,’ so much in the 
style of Correggio, that it appears almost incredible 
that a young man of twenty-six years of age, who 
had never frequented the school of that painter, 
could approach so near to the greatness of Cor- 
reggio, both in the intelligence of perspective and 
in foreshortening. Two other works of this 
painter, at Cremona, are justly admired — the 
‘Raising of Lazarus’ and the ‘ Adulteress before — 
Christ,’ surrounded by friezes of a numerous group 
of Angels, finely composed, and designed in the 


PP 
Ferrara. 
London. 


_ Jandi, at Brescia in 1659. 


Os asi -8 “ti stay 
a te ae 


> * 


PAINTERS AND ENGRAVERS. 


loftiest style. This 

prime of life, in 1546. 
BOCCACCINO, Franczsco, was born at Cremona 

about the year 1680. He studied at Rome, first 


promising artist died in the 


under Brandi, and afterwards in the school of 


Carlo Maratti, under whom he acquired a pleasing 
manner of composing and painting easel pictures 
of historical subjects, which were well esteemed in 
private collections, and of which he painted more 
than of larger works for the churches. He some- 
times imitated the style of Albani, and, like that 
painter, he was fond of treating mythological 
subjects. He died in 1750. 

~BOCCARDI, Gtovaynt, known as Maestro Gio- 
VANNI, was a miniature painter who lived at 
Florence in the early part of the 16th century, and 


who, with his son Francesco, painted (1507-23) 


a number of the choir-books of Monte Cassino and 
Perugia. The influence of the school of Raphael 
was noticeable in these productions. 

BOCCATI, GiovannI, of Camerino, is known by 
a picture—signed and dated 1447—in the Gallery 
of Perugia. The subject is ‘The Virgin and Child 


enthroned, and surrounded by Angels, Seraphim, 


and Saints.’ 

BOCCHI, Faustino, was born, according to Or- 
He was a scholar of 
Angelo Everardi, called Il Fiamminghino. He 
chiefly excelled in painting battles and skirmishes 
of cavalry, which he composed with great in- 
genuity, and touched with a spirited pencil. His 
figures, though on a small scale, are correctly 
drawn, and his landscapes are very pleasing. He 


‘died in 1742. 


BOCCIARDO, Ciementz, called CLEmMENToNE— 
according to Soprani, from the prodigious size of 
his person—was born at Genoa in 1620. He wasa 
scholar of Bernardo Strozzi, and accompanied Bene- 
detto Castiglione to Rome, where he studied some 
time, and afterwards visited Florence, where he 
met with encouragement, and painted his portrait 
for the Florentine Gallery. It is engraved in the 
‘Museo Fiorentino.’ His principal works are at Pisa, 
of which Lanzi distinguishes his ‘ Martyrdom of St. 
Sebastian,’ in the church of the Carthusians. More 
ingenious in his compositions, and more correct in 
his design, than Strozzi, he is inferior to him in the 
truth and purity of his tints. He died in 1658. 

BOCCIARDO, Domenico, was born at Finale, 
near Genoa, about the year 1686, and was a dis- 
ciple and a follower of the style of Giov. Maria 
Morandi. Without the possession of much inven- 
tion, he was a correct designer and an agreeable 
colourist. In the church of San Paolo, at Genoa, 
is a picture by this painter of St. John baptizing 
several figures. 

BOCHOLT, Franz von, a German engraver, 
who flourished from 1458 to 1480, is said to have 
been a shepherd at Mons, in Hainault; but it is 
more probable he was a native of Bocholt, a small 
town in the bishopric of Minster. His prints, 
amounting to fifty-five, are chiefly copies after the 
plates of Martin Schongauer and Von Meckenen, 
although he engraved some few plates from his 
own designs. They are all executed in a laboured, 
stiff style, and are generally marked /. v. B. The 
following are by him: 


COPIES FROM MARTIN SCHONGAUER, 


St. Anthony carried into the air by demons 
St. James reading 
St. Michael and the Dragon. 


COPIES FROM ISRAEL VON MECKENEN, 
The Judgment of Solomon. 
The Annunciation. 
The Virgin and Child; in an arch. 
SUBJECTS FROM HIS OWN DESIGNS. 
A Friar struggling with a Girl, who defends herself with 
her distaff. 
Samson strangling the Lion. 
Two Men quarrelling. 
St. George and the Dragon, with ‘ Francis van Bocholt, 
in very old characters. 


BOCK, Hans, was a German painter of the 16th 
century, who flourished at Basle, where he executed, 
within and without the Rathhaus, some colossal 
frescoes, which render his name famous. The 
Rathhaus also possesses a painting of the ‘Calumny 
of Apelles,’ by him. His works, though mannered, 
display much power and energy. 

BOCKHORST, Jan van. See BorxKnorst. 

BOCKHORST, Joann von, called Lancen Jan, 
was born at Miinsterin 1610, His family had settled 
at Antwerp when he was young, and he became a 
scholar of Jacob Jordaens. Under that able in- 
structor he became a very distinguished painter 
of historical subjects. There are many of his 
pictures in the churches in Flanders, and they are 
deservedly ranked among the best productions of 
the Flemish school. In 1633 he entered the Guild 
of St. Luke at Antwerp. He seems to have taken 
the works of Van Dyck as his model, and some 
of his best pictures are so much in the sty!2 of 
that admirable painter that they may easily be 
mistaken for his works. He also excelled as a 
portrait painter; many of his portraits are only 
inferior to those of Van Dyck, He died in 1668. 
The following are some of his principal works: 

Church of 'Triptych—Resurrection: Annun- 
Antwerp. Lathan Rettoah and Ascension. 
St. Augustin. The Empress Helena with the 


>} 
true Cross. 


Ghent St. Jacques. Martyrdom of St. James. 
Lille. Museum. Martyrdom of St: Maurice. 1661. 
Madrid. Gallery. Mercury. 


Ulysses in female attire at the 
Court of Lycomedes. 


BOCKLIN, J. C., was a German engraver, who 
executed a set of British portraits for a German 
edition of the ‘History of England.’ They are 
poorly engraved, and the whole are copied from 
the prints by White. 

BOCKMAN, G., was a mezzotint engraver, who, 
if not a native of England, resided here in the first 
half of the 18th century. He appears to have 
been also a painter, as he engraved a plate of ‘St. 
Dunstan and the Devil,’ which is signed with his 
name, with the addition of pinx. et sculp., 1743. 
He died about 1768. We have several portraits 
by him, among which are the following : 

William Augustus, Duke of Cumberland ; after Van Loo. 

Another Portrait of the same, with his hat on; ad 

vivum. 1746. 

Mary, fourth Daughter of George II., consort of Fred- 

erick II., of Hesse Cassel; after J. Worsdale. 

Philip Yorke, Earl of Hardwicke ; after M. Dahl. 

Thomas Chubb, the Deist. 


BOCKMAN, R., is known as the painter of 
portraits of Naval Heroes at Greenwich Hospital 
and Hampton Court, and also as a mezzotint 
engraver, It is believed that he died about 1769. 

BOCKSBERGER, Hans, (or BocksPERGER, ) born 
at Salzburg in 1540. He painted battle-pieces, 
hunting-parties, allegorical, mythological, and his- 
torical subjects ; and was principally a daesditi 


”? 23 


2 AN BIOGRAPHICA | 


the decorations of Lohees at Munich ARSE : 


Ingolstadt, Passau, Ratisbon, Landshut, and Salz- 
burg. Asa Nak ote pe illustrated the fol- 
lowing: 


The Bible with 122 Plates. “1505. 
Livy. 1573. 
Flavius J osephus. 15651571. 


The Book of Animals, by G. Schaller. 1592. 
All of these were published by Feyerabend, at Frank- 
fort. Besides these, there exist by ‘him several 
handsome designs for armour. 


BOCQUET, Niconas, a French engraver, men- 
tioned by Basan, lived about the year 1601. There 
are two indifferent prints by him: 

Adam and Eve; after Raphael. 

St. Bruno kneeling before a Crucifix ; ae Bon ds 

Boullongne. 


BODART, Pieter, a native of Holland, resided 
at Leyden about the year 1723. His prints are 
little known in England. His principal work is a 
drawing-book, entitled “ Les Principaux fondements 
du Dessein,”’ published at Leyden in 1723. Itcon- 
sists of a great number of plates of heads, hands, 
feet, figures, and groups, from the designs of 
Gerard Hoet. They are chiefly etched, in an 
indifferent style. 

BODDINGTON, Henry Joun, was born in 1811. 
He was one of the sons of Edward Williams, of 
Barnes, and changed his name because so many of 
his family were painters. He was a member of 
the Society of British Artists, and a constant con- 
tributor to their exhibitions, usually sending views 


on the Thames, or other river subjects. He also 
exhibited at the Royal Academy. He died at 
Barnes in 1865. 

BODEKKER, JoHannes FREDERIK, a Dutch 


portrait painter, was born at Cleve in 1660, He 
was a scholar of Jan de Baan, and met with great 
encouragement in his profession at Amsterdam 
and the Hague. One of his best productions was 
the half-length portrait of Duke Eberhard Ludwig 
of Wiirtemberg. There is a poorly-scraped mezzo- 
tint by this artist of a ‘Boy and a Girl,’ half- 
figures, with flowers, after his master, J. de Baan. 
He died at Amsterdam in 1737. 

BODEMER, Jaxon, was born in 1777 at Not- 
tingen, in the vicinity of Carlsruhe. He worked at 
first as an enamel painter in Geneva, but in 1799 
entered the Academy of Vienna, and devoted him- 
self to the profession of enamel portrait paint- 
ing, and brought that art to perfection by the 
invention of a glass-like coating to the pictures. 
He died at Vienna in 1824. The following are 
specified among his productions : 

Mary with the Child Jesus (tn possession of Prince Zin- 

zendorf). 

Madonna in Prayer ; after Holbein (Count Czernin’s). 

Cupid; after Paolo Veronese. 

Portraits of the Imperial Family of Austria. 


BODENEHR, Moritz, engraver to the court at 
Dresden, was born at Freiburg in 1665 and died at 
Dresden in 1749. He engraved a suite of thirty- 
two mythological and poetical pieces after Samuel 
Botschild, which were published, with his name, in 
1693. His father, JouanN GreorG BoDENEHR, was 
an eminent engraver, who was born in 1631, and 
died in 1704; and his brothers, GABRIEL and 
Grora@ Conrad, followed the same profession. 
Their sons seem to have continued it, for the name 
of Bodenehr is found to a late period, but with 
no particular distinction. There was, however, a 
second JOHANN GrorG BoDENEHR, an engraver and 

152 


ezzotint, who w 
1691, and died at Augsburg in 1730. 

BODERECHT, MARKUS, & German eng 
mezzotint, flourished about the year 1739 
was chiefly employed in portraits, and amo 
others engraved that of Johann Thomas Ra 
with the above date. f 

BODINIER, GuILLAUME, a French historical 
portrait painter, was born at Angers in 1795. H 
studied at Rome under the direction of Pierr 
Guérin, and exhibited at the Salon from 1827 to 
1857. After a long residence in Romehe returned 
to his native city, where he became director of the _ 
Museum, and died in 1872. His best work is the 
‘Angelus in the Campagna of Rome,’ painted in 
1836, and formerly in the collection of the Duke of ae 
Orleans, ae 

BODMER, Gortuizs, born at Munich in 1804, a. 
was a painter, designer, ‘and lithographer. He first. an 
painted portraits under Stieler. In 1829hedrew ~~ 
upon the stone the celebrated Madonna di San 
Sisto, after the engraving of F. Miller, and after- 
wards two paintings after H. Hess, viz.,‘Christmas __ 
Eve,’ and a small altar-piece. He visited ‘Paris,) ya 
and died at Munich in 1837. The vee are. 
notable works : 

The Departure of King Otto. 

King Ludwig I. in his family circle. 

The Knight and his Love; after Foltz. 

The Swiss Grenadier ; after Kirner. 


BOECE. See BoErius. 

BOEGLER, Kart, who was born at Manich. in 
1837, practised there and at Wiesbaden as a 
painter of architecture and views. Hediedinhis 
native city in 1866. In the New Pinakothek at 
Munich there are three views of buildings, dated 
1865, by him. lm 

BOEHMER, KarL WILHELM, was a painter tod q 
engraver of Saxony. He was brother-in-law and ; 
scholar of Dietrich. There is a series of land- 
scapes and marine subjects engraved by him, — 
with the dates 1744 and 1754, published in 8vo — 
and 12mo, with his name or monogram, The 
series is rare, 

BOEKEL, — VAN, a pont at Frans Snyders, 
painted living and dead animals. He died in Paris 
in 1673. In the Louvre there is a picture by him 
of a man with dogs and game. > 

BOEKHORST, Jan van, (or BockHorst,) who 
was born at Deutekom in "1661, was a scholar of 
Kneller. He passed some time ‘with that artist in 
London, and painted portraits in his manner. He 
also painted battle-pieces and some historical com- 
positions, which are rare. He returned to his own 
country, where he died in 1724, at Cleve. In the 
castle at Stockholm there are the Four Evangel- — 
ists, and an Angel, by him ; and in the Belvedere 
at Vienna a ‘Nymph surprised by Satyrs.’ 

BOECKLIN, ARrno.p, the Swiss idealist painter, 
was born in 1827 at Basle, At the age of eighteen 
he was sent to Diisseldorf, where he studied land- 
scape painting under Schirmer, He then spent 
six months at Brussels, copying the Dutch master- 
pieces there, and after a few weeks in Calame’s 
studio at Geneva, he went to Paris, where he was an 
eye-witness of the revolution of 1848. His mili- 
tary duties recalled him to Basle, and in 1850 he 
took up his residence in Rome, where he lived for 
the next seven years. He married in 1853. The 
scenery of the Campagna made a lasting impression 
on him, and much of his time was spent wandering 
about the country and observing Nature in all her ~ 


qgvad AHL AO GNV'ISI AHL 
mnasnpy 229297 | 


aa Se 


~ 


- purely ideal conceptions. 


’ 


be moods, Boecklin never painted direct from Nature, 
and his landscapes represent no particular spots, 


but they are Italian in character and feeling, and 
were the result of the reminiscences stored up in 


his mind during these first years in Rome. In 1859 


he achieved his first great success with ‘Pan 
among the Reeds,’ which was exhibited at the 
Art Union at Munich, and bought for the Pina- 
kothek. At Munich, also, Boecklin, through the 
medium of Paul Heyse, made the acquaintance 
of Count Schack, for whom, during the next 
sixteen years, many of his most important pictures 
were painted. In the following year he was 
appointed a teacher in the Academy of Art at 
Weimar, but in 1862 he again went to Rome. 
It was during this sojourn that he paid a visit to 
Naples and Pompeii, where the antique frescoes 
roused his enthusiasm and had great influence on 
his art. Having received some commissions from 


his native town he returned to Basle in 1866. Here 


he painted a series of frescoes for the Garden 
House of Herr Sarasin, and also the frescoes over 
the staircase of the Museum. From 1871 to 1874 he 


_ was again in Munich, but his works, in which, for 
the first time, he introduced those creatures of his 
Own imagining which play so large a part in his 
later pictures, met with such opposition from critics 


and the public that he again returned to Italy. 
With the exception of a few years spent at Zurich, 
he lived for the rest of his life at Florence. His 
health gave way in his later years, and he died on 
the 16th of January, 1901. Boecklin’s paintings are 
They bear no relation to 
reality, but are the creation of the. artist’s fancy. 
He never painted a story in the literary or historical 
sense, but used figures and scenes as a medium for 
the expression of his emotions. He peopled his 
ideal landscapes with nymphs, satyrs, and other 
mythological figures, or with wonderful imaginary 
creatures, in which he gave symbolical shape to the 
spirit of Nature. His sea-pictures, with their sport- 
ing Tritons, Naiads, and Sea-centaurs, best exhibit 
the extraordinary brilliance and transparency of his 
colouring. His art was too bold and too original to 
be readily accepted, and for years he suffered from 
most severe criticism. It was not until the time of 
his residence at Zurich (1885-1892) that he received 
due recognition. The majority of his pictures, 
many of which exist in several versions, are in 
private hands. The Schack Gallery, Munich, 
possesses, among other works:—‘ Pan startling 
a Shepherd,’ ‘The Walk to Emmaus,’ ‘ Villa by 
the Sea,’ ‘A Rocky Chasm,’ ‘Old Roman Tavern,’ 
‘Triton and Nereid.’ The principal pictures in 
public galleries are: 

Basle, Museum, Centaurs Fighting; The Sacred Grove; 
Vita Somnium Breve. Berlin, Wational Gallery, 
Mary grieving over the Body of Christ; The Regions 

of the Blessed; The Hermit ; Sea-Breakers ; Portrait 
of the Artist. Bremen, Jfusewm, The Adventurer. 
Breslau, Silesian Museum, The Sanctuary of Hercules; 
Attack by Pirates. Dresden, Gallery, Faun-family 
at the Fountain. Leipzig, Museum, The Island of 
the Dead; Hymn of Spring. 

BOKL, CoRnELIs, a Flemish engraver, was born 
at Antwerp about the year 1580. He worked 
chiefly with the graver, in the style of the Sadelers, 
in whose school it is probable he was instructed. 
His plates are executed in a clear, neat style, and 
possess considerable merit. He engraved a set of 
oval plates for the ‘Fables of Otto Veenius,’ 
published at Antwerp in 1608. His most con- 


siderable works were eigkt large plates of the | 


-Tempesta. 


fecit, in Ruchmont, 1611. 


PAINTERS AND ENGRAVERS. 


battles of Charles V. and Francis I., executed in 
conjunction with Jode de Gheyn, the younger, after 
He was probably in England, as ap- 
pears from one of his plates, the Frontispiece to a 
Bible, published by the royal authority in 1611, 
very neatly engraved, which is signed (. Boel 
We have also by him a 
Portrait of Henry, Prince of Wales, an oval plate, 
with an ornamental border; and another plate, of 
‘The Last Judgment,’ Cornelis Boel fecit, without 
the name of the painter. 

BOEL, Coryn, the son of Jan Boel, the en- 
graver, was born at Antwerp in 1620. He en- 
graved several of the plates for the book called 
‘Teniers’s Gallery,’ after the pictures in the collec- 
tion of the Archduke Leopold William. We have 
also some etchings by him, principally after the 
pictures of the elder Teniers, representing peasants 
regaling and merry-makings. His death is not 
recorded, 

BOKEL, Jan, who was born at Antwerp in 1592, 
was free of the Guild of Luke in 1610, married in 
1619 and had nine children—among whom were 
Coryn and Pieter. He practised as an engraver. 

BOEL, Jan Baptist, the son of Pieter Boel, the 
engraver, was born at Antwerp in 1650. In 1674- 
75 he was admitted as a master’s son to the Guild 
of St. Luke, and died in 1688-89. In the Antwerp 
Museum is a picture called ‘ Vanity,’ representing 
a dead swan, with a peacock and flowers, painted 
by him for the Guild of St. Luke in 1679-80. 

BOEL, PIETER, an excellent painter of animals, 
birds, flowers, and fruit, and the son of Jan Boel, 
the engraver, was born at Antwerp in 1622, and 
was a scholar of Frans Snyders. Desirous of im- 
provement, he went to Italy, where his works 
were much admired, both at Rome and at Genoa. 
On his return to Flanders he met with great en- 
couragement. Four of his best pictures, repre- 
senting the Four Elements, are in a private col- 
lection at Antwerp. He died at Paris in 1674. His 
touch is free and spirited, and his colouring natural. 
The Munich Gallery has a picture by him of ‘Two 
Dogs guarding dead Game’; a ‘Boar Hunt’ is in 
the Hague Gallery, and the Madrid Gallery has 
five works by him; a picture of Still Life is in the 
Antwerp Museum. We have some very spirited 
etchings by Boel of various animals, and a set of 
six plates of birds of prey, with landscapes, entitled 
‘Diversi Uccelli a Petro Boel.’ 

BOETIUS, Curistian Friepricn, (or Borcs,) a 
German engraver, was born at Leipsicin 1706. He 
was a pupil of Zink and C, A. Wartmann, and 
resided chiefly at Dresden, where he was made 
professor of the Electoral Academy in 1764. He 
engraved several of the plates for the Dresden 
Gallery, some portraits, and various other subjects. 
He died at Dresden in 1782. The following are 
among his best prints: 

Landscape with a Monument; after Breenbergh. 

La Notte; after Correggio. : 4 

The Meyer Madonna; after Holbein (one of his best 

works), 

Baa ioeae with a Cow and Sheep; after Karel du 

Jardin. : 

A Woman holding a Pot with Coals, and a Boy blowing ; 

after Rubens. 

Sportsmen at the Door of an Inn; after Wouwerman. 

Interior of an Inn; after FT. Wyck. 

The Portrait of Boetius; in imitation of a chalk draw- 

ing. 1771. 

Portrait of Charles Hutin; the same. 

Portrait of Raphael Mengs; the same. 

Portrait of J. Casanova; the same. 


153 


OP Fie ES NL OS tra cc soa 
rh x 


BOETTGER, JoHANN GoTTLIEs, a German en- 
graver, was ‘born at Dresden in 1766. He was a 
pupil of J. G. Schulz, and has engraved several 
plates for the booksellers and others, among which 
we have: 

Portrait of F. W. B. de Ramdohr; after Graaf. 

Calliope ; after Angelica K aufmann. 

Ganymede ; after Vogel. 

A Vestal ; afier the same. 

BOTTNER, WiLHELM, who was born at Cassel 
in 1749, and died in 1805, is represented in the 
gallery of his native town by a picture of ‘ Dedalus 
and Icarus.’ 

BOETTO, GIOVENAL, was, according to Della 
Valle, a Piedmontese, and flourished at Turin from 
the year 1642 till 1682. He distinguished himself 
as a fresco painter, and was principally employed 
in embellishing the palaces and public edifices at 
Turin with allegorical subjects, which were in- 
geniously composed, and designed with taste and 
elegance. Among his most admired works are 
twelve frescoes, in the Casa Garballi, representing 
subjects emblematical of the Arts and Sciences. 
Lanzi affirms that he excelled as an engraver, but 
his prints are not specified. 

BOEYERMANS, THeEopor£, or Dirk, who was 
born at Antwerp in 1620, was a follower of Van 
Dyck. He was free of the Guild of St. Luke in 
1654, and his name occurs at intervals on the 
registers until the time of his death, which took 
place at Antwerp in 1677-78. His works—historical 
and portraits—are correctly designed and agreeably 
coloured, and show a good knowledge of chiaro- 
scuro. Amongst them we find: 

Antwerp. Museum. The Ambassador. 
The Pool of Bethesda. 

T. BOEIJERMANS PINXIT. 
The Visit (signed). 
Antwerp as patroness of painters, 

inscribed ANTVERPIE PICTORVM 


1675. 


NVTRICI P™: 
se Head of a Woman. 
Aa St. Jacques. Assumption of the Virgin. 1671. 
Convent 
* of Seurs \ Miraculous cure of a Paralytic. 
Noires. 


BOGDANI, Jamgs, known as a fruit and flower 
painter in England in the time of Queen Anne, was 
a Hungarian by birth. After a long residence in 
London, he died in Great Queen Street in 1720. 
Some of his pictures are in the Royal Collection 
(Walpole). 

BOGLH, Joun, exhibited miniature portraits in 
London from 1769 to 1792. In early life he lived 
in Glasgow and Edinburgh; afterwards he came 
to London, where it is said he died in poverty. 

BOGUET, Nicoxas Dipigr, a French landscape 
painter, was born at Chantilly i in 1755, and passed 
the whole of his life in Rome, where he died in 
1839. There are examples of his work in the 
Galleries of Versailles, Aix, and Montpellier. 

BOHER, Francois, a French painter, sculptor, 
and architect, who was likewise a poet, was born 
at Villefranche in 1769, and became director of 
the school of design and architecture at Perpignan. 
He died in his native town in 1825. 

BOIDELSIN, —, (or BoIDEssIN,) was a French 
painter who flourished at Metz at the end of the 
17th century. There is a ‘ Nativity’ by him in the 
convent of the Visitation of St. Mary at Metz; and 
he also painted a ‘ Vierge au Mont Carmel,’ which is 
well designed and drawn. 

154 


A BIOGRAPHICAL DICTIONARY OF 


NOUNS ESE TPE ES, EUNNY yaa ar 


BOILLY, Aupuonss, a French engraver, was the : . 
son of Louis Léopold Boilly, the portrait painter. 


He was born in Paris in 1801, and was a pupil of | ; . 4 


Pierre Alexandre Tardieu and of Forster. He died 


at Le Petit Montrouge in 1867. mato his best - 


works are: 
The Woman taken in Adultery ; after Titan. 
The Miracle of the Loaves ; ahr) urillo, 


George Washington, whole length; after Gilbert ye 3 
Marie Thérése Antoinette, Infanta ‘of Spain, pees 
of France ; after Tocqué. — 


BOILLY, JuLizen LEOPOLD, a painter, engraver, = . 


and lithographer, who was born in Paris in 1796, 
was the son and pupil of Louis Léopold Boilly. 
He also studied under Gros. In 1826 he made a 


journey to Italy, and on his return published a — 4 


series of studies of the costumes of the country. 
He also executed portraits in pastel and in chalk. 
A portrait of his father, by him, is in the Lille 
Museum. He died in Paris in 1874. . 

BOILLY, Louis Ltoprop, was born at La Bassée, 
near Lille, in 1761. His only master was his 
father, Arnould Boilly, a wood-carver. He under- 
took to paint when in his twelfth year a picture of 
‘St. Roch curing the Plague,’ for a chapel of that 
saint. In the following year he executed for the 
brothers of St. Roch a burial scene containing por- 
traits. These are still to be seen at La Bassée. In 
his fourteenth year he went to an Augustine priory 


/ at Douai, where he painted several portraits and 


genre pictures. At Arras he painted more than 
300 small portraits in two years. About 1786 he 
settled in Paris, executing a vast number of works. 
In 1799 he gained a prize of 2000 frs., and in 1833, 
by the desire of the Academy, was invested with 
the Legion of Honour. He is said to have painted 
in all over 5000 portraits, besides other works. 
An ‘Arrival of a Diligence’ by him, signed and > 
dated 1803, is in the Louvre. In the Lille Museum 
are a series of twenty-seven portrait studies for his 
‘Interior of the atelier of Isabey,’ and a sketch for 
the entire work. Many of his works have been 
engraved by Tresca, Cazenove, Petit, Chaponnier, 
and others, whilst he is stated to have produced 
about a hundred prints himself. He exhibited many 
times from 1793 to 1824, and died in Paris in 1845. 

BOILVIN, Emizez, French engraver; born at — 
Metz ; at first devoted his talent to painting. A 
pupil. of Pils; exhibited several clever genre 
pictures, and it was not till 1868 that his first 
efforts in the field of engraving were made, His 
plates were notable for their spontaneity and 
freshness, and, while a faithful translator of a 
great artist’s work, he yet contrived to infuse into 
each masterpiece that he engraved something of 
his own poetic personality. French painters owe 
much to Boilvin, from Courbet and Meissonnier 
to Dagnan, whose ‘Céne’ he was at work upon 
when his death occurred. Of the famous pictures 
which he engraved in masterly fashion we have 
Franz Hals’ ‘Femme au Gant’; Van der Helst’s 
‘Paul Potter et sa Famille’ ; Rubens’ ‘La Vierge 
aux Innocents’; Boucher’s ‘Le Triomphe de 
Galatée’; Lancret’s ‘La Femme aux Parasol,’ &c, 
He obtained a medal of the Third Class in 1877, 
of the Second Class in 1879, a Grand Prix at the 
Universal Exhibition of 1889. He was in that 
year created Chevalier of the Legion of Honour, 
His death occurred in Paris in the August of 
1899. 

BOIS, Dv. See Du Bois and Dvusois. 


BOISFREMONT, Cuar.es DE, one of the pages 
- of Louis XVI., went to America during the Revolu- 
- tion, and there taught himself painting. On his 
return he commenced exhibiting his works, in which 
he seems to have adopted Prud’hon as his model. 
Art is indebted to him for the restoration of the 

ictures at Versailles when they were in a very 
ha state of decay. The date of his birth is uncer- 
tain. He died in 1838. 
others the following: 


The Death of Abel. 1803. 
ee upbraiding Paris (gold medal and 500 francs). 
1 


The Descent of Orpheus into Hell (gold medal and 1000 
s). 1808. 


: Gr ciency of Napoleon towards the Princess of 
Hatzfeld (purchased by the Government, and executed 
in (pager at the Gobelins for the cabinet of Napoleor 
at the Tuileries). 1808. 

The Education of Jupiter on Mount Ida (forming the 

ceiling of the pavilionof Marsan). 1812. 

- The Good Samaritan (in the Rouen Museum). 1822. 

The Death of Cleopatra (also in the Rowen Museum). 


1824. 
The Chastity of Joseph. 1826. 


Le Déshabillé. Same year. 

BOISSARD, Micuet J., was a French engraver 
of the seventeenth century. ‘A Holy Family,’ of 
the year 1650, is his only known engraving. 

BOISSARD, RoBert, an engraver, was born at 
Valence about 1570. He worked in the manner of 
Theodoor de Bry. Heused the same mark as René 
Boivin, but their works should not be confounded. 

In France and England we have by him: 
_ Portrait of Robert, Earl of Essex; after Bromley. 

Portrait of Henry IV. of France. 

Nymphs bathing ; in the manner of Aldegrever. 

Judgment of Paris ; in the manner of Lucas van Leyden. 

- BOISSELIER, Antoine Faux, a French his- 
torical and landscape painter, was born in Paris, 
in 1790. He was a pupil of Bertin, and exhibited, 
- in 1819, ‘The Death of the Athlete Polydamas;’ 
in 1822, ‘The Death of Bayard’ (now at Fontaine- 
~bleau); and in 1824 obtained the first gold medal. 
‘He died in 1857. 
BOISSELIER, Fe&trx, ‘ the elder,’ a French his- 
' torical painter, was born at Damphal (Haute- 
Marne) in 1776, and in early life was employed as 
draughtsman in a manufactory of decorative papers. 
- At the time of the Revolution he was thrown into 
prison, and after regaining his liberty entered the 
studio of Regnault. In 1805, and again in 1806, 
he obtained the grand prize in painting, and to- 
wards the end of the latter year went to Rome, 
where he died in 1811. His ‘Death of Adonis,’ 
exhibited in 1812, is now in the Louvre. 

BOISSEREHE, Metcuior, an artist and antiquary, 
was born at Cologne in 1786. He undertook, in 
conjunction with his brother, Sulpice Boisserée, and 
J. B. Bertram, the formation of a collection of 
pictures by ancient German masters, to which the 
three devoted twenty years’ labour and the bulk of 
their fortunes. These pictures, with some few 
exceptions which are in the chapel of St. Maurice 
at Nuremberg, were purchased by the King of 
Bavaria, in 1827, for 120,000 thalers (£18,000), and 
are now in the Pinakothek at Munich. Boisserée 
executed and published in 1834 a series of large litho- 
graphs of these pictures in thirty-eight numbers, He 

- was also the discoverer of a new and simple method 
of painting upon glass by means of the brush alone, 
and employed it for the reproduction of the best 
works in the ancient collection formed by him, as 
well as of some chefs-d’euvre of the Italian school 


He exhibited amongst 


_other masters. 


PAINTERS AND ENGRAVERS. 


which are now at Bonn. His death took place at 
that town in 1851. 

BOISSEVIN, L., was a printseller, and is sup- 
posed to have engraved the following plates: 

Charles I. 

Oliver Cromwell. 

Cardinal Barberini ; dated 1623. 

BOISSIER, Anpre CLaupr, a French painter of 
religious subjects, was born at Nantes in 1760. He 
studied under Brenet, and settled at Chaéteau-Gon- 
tier. Among his best works are an ‘ Assumption’ 
and an ‘Apotheosis of St. Vincent de Paul,’ both 
of which are at Pekin; a ‘Temptation of Christ,’ 
and an ‘Adoration of the Shepherds.’ He died 
at Chateau-Gontier about 1840. 

BOISSIERE. See Dexa Boissrire, 

BOISSIEU, JEAN JACQUES DE, a French painter, 
more celebrated as an engraver, was born at Lyons 
in 1736. He studied first in his native city, but 
afterwards went to Paris, where he numbered 
Joseph Vernet and Greuze among his friends, and 
then to Italy. He subsequently returned to Lyons. 
Declining health compelled him to give up painting 
in oil in favour of drawing and engraving, and 
he preferred to live in retirement near Lyons to 
shining in his profession in Paris. He died at 
Lvons in 1810. He painted some pictures of simi- 
lar subjects to those by Ostade,—the Dutch School 
was ever his favourite,—and also some portraits, 
Two Landscapes with figures and buildings by him 
are in the Berlin Gallery—one is dated 1773; anda 
Landscape with figures is in the Louvre. Boissieu 
is, however, principally known by the charming 
etchings he has left us of landscapes and other 
subjects, both from his own designs and those of 
The number of his plates, which 
are generally marked D. B., with the date, is 140. 
The following are his best prints: 


A mountainous Landscape, with Waterfall; after 
Asselyn. 

A Landscape, with Shepherds, by the water-side; after 
Berchem, 

The Quack Doctor ; after K.du Jardin. 

An Old Man, with a Boy reading; in the manner of 
Rembrandt. 

A Cooper working in a Cellar ; the same. 

A Landscape, with a Boy driving an Ox; after Ruisdael. 

A Landscape, with figures in a Boat, and a Mill; after 
the same. 

The Great Mill; after the same. 

The Mower’s Rest ; after Adriaan van de Velde. 

An Italian Landscape, with Women washing. 

A Forest, with a Cottage, and a Man on Horseback, 
with Peasants. 

Another Forest scene ; the companion. 
A Landscape, with figures and animals, in the middle a 
Hill, on which is a Cross, and an old Man kneeling. 
A View near Tivoli, with a Man and a Woman mounted 
on a Mule, driving Cattle through a Rivulet. 

A Landscape, with a Hermit, at the entrance of a 
Cavern. 1797. : 

A Landscape, with large figures, and two Cows standing 
in the Water. 


The two last mentioned, with the first and ‘The 
Great Mill,’ are his best plates. See ‘Catalogue 
raisonné de son Qiuvre,’ Lyons. 1878. 8vo. 

BOIT, CHar.es, the son of a Frenchman, was 
born at Stockholm about 1663, and began life as 
a jeweller. He went to England and established 
himself as a drawing-master, but afterwards took 
to painting in enamel, an art in which he excelled 
so much that he was commissioned to paint for 
Queen Anne a plate twenty-four inches by eighteen 
in commemoration of the victories of the Duke of 
Marlborough and Prince Eugene, which, ate ied 


A BIOGRAPHICAL DICTIONARY OF 


was never finished. At the death of the queen, in 
1714, he fell into difficulties, and fled to France, 
where he was much patronized by the court. He 
became a member of the Academy in 1717, and 
died in Paris in 1727. Horace Walpole gives a 
long account of him, and mentions many enamel 
portraits and copies of celebrated paintings exe- 
cuted by him. | 
BOITARD, Lovis PigrrRE, who was born in 
France, was a pupil of La Farge. He went to Eng- 
land with his father in the reign of George I., and 
became celebrated as an engraver of book plates. 
He married an English lady, and died in London 
in 1758. His most important work was a repre- 
sentation of the Ranelagh Rotunda, after Paolo 
Pannini. Other good plates of his are those he 
executed for Spence’s ‘Polymetis.’ He also en- 
graved some portraits, among which is that of 
Brown, the soldier who distinguished himself at the 
battle of Dettingen, and one of Elizabeth Canning. 
BOIVIN, Rens, (or Borvin,) a French draughts- 
man and line-engraver, was born at Angers about 
the year 1530. and died, as is believed, at Rome 
in 1598. He engraved several plates in the style 
of Cornelis Cort, and we have also some etchings by 
him. Some of his plates are from his own designs, 
and some from those of Rosso del Rosso, called 
by the French Maitre Roux. He sometimes signed 
his works with his baptismal name, Renatus, and 
sometimes with a cipher composed of an # and B, 


thus, Ry, . The following are his principal plates: 


Twelve Portraits of Philosophers and ancient Poets. 

Two Portraits of Clément Marot. 

Portrait of John Sebastian Psanserus. 

Portrait of George Vicelius, Theologian. 

Susannah and the Elders. 

The departure of Hagar and Ishmael from the House 
of Abraham; a spirited etching. 

Banditti robbing the Oart of a Peasant ; etching. 
The Plates for a work entitled “ Livre de la Conqueste 
de la Toison d’or, par le Prince Jason de Tessalie.” 
The Triumph of Virtue and the Defeat of Vice; after 
Rosso del Rosso. 

Francis I, advancing towards the Temple of Immor- 
tality, leaving behind him Ignorance and the Vices; 
after the same. 


_ BOIZOT, Mariz Lovisk ADELAIDE, a French line- 

engraver, was born in Paris in 1744. She was the 
daughter of ANTOINE Borzot, a painter, and sister 
of Louis Simon Boizot, a sculptor, and was in- 
structed in art by her father and by J. J. Flipart. 
She engraved with great neatness several portraits 
and other subjects, and died about the year 1800. 
The following are among her works: 


Jean Joseph Guillaume Bruté, Doctor of Sorbonne; J/. 
L. A. Boizot del. et fee. 

Joseph IT., Emperor of Germany ; after L. S. Boizot. 

Louis XVI., King of France ; after the same. 

Marie Antoinette, Queen of France; after the same. 

Louis Stanislas Xavier, Count of Provence, afterwards 
Louis XVIII.; after the same. 

Marie Joséphine Louise, Countess of Provence; after 
the same. 

Charles Philippe, Count of Artois, afterwards Charles 
X.; after the same. 

Marie Thérése, Countess of Artois; after the same. 

Madame Elizabeth, sister of Louis XVI.; after the same. 

St. Catharine ; after L. Carracet. 

The Dutch Breakfast; after G. Metsu. 

A Boy with a Birdcage ; after Netscher. 

A young Turk; after the same. 

La Liseuse ; after Greuze. 


BOJAN, J. L., was a French engraver, who 
flourished about the year 1670. He was chiefly 
employed by Jean Berain in engraving some of 

156 


Eee eRe 
Sor Du a) Re Ap ee ora An 


the plates for his large work of the Ornaments in 3 
the Louvre and the Tuileries. Sing Seater 
BOKLUND, JouAn KRISTOFFER, who was bornin ~ 


1817 at Kulla-Gunnarstorp, Sweden, studied under 
K6rner in Lund, and then in Copenhagen, Stock- 
holm, Munich, and lastly under Couture in Paris. _ 
In 1856 he returned to Stockholm, where he became __ 
a member of the Academy of which he was after- 
wards Director, and held various important posts, 
including the Curatorship of the National Museum. 


He painted scenes from the Thirty Years’ War, e 
historic pictures, genre subjects, and portraits. 
Many celebrated persons sat to him. He died at — 
Stockholm in 1880. 
BOKSHOORN, Josrpu, a Dutch portrait painter, 
was born at the Hague, and came to London in © 
1670, where he died at the age of thirty-four. He 


was a scholar of Sir Peter Lely, whose works he > a 


copied in great perfection. He also copied por- 
traits by Van Dyck, particularly that of the Earl of — 
Strafford, which was in the possession of the Earl 
of Rockingham. Vertue mentions portraits by him 
of Mr. Davenant (son of Sir William) and his wife. 


BOL, CorNneELIs, was a native of Holland, and — 
flourished about the year 1660. Hevisited England 
before the fire of London, as he painted views of 


that conflagration. He also painted representations — 


of Sutton Place in Surrey, Arundel House, Somerset 


House, and the Tower. He etched some plates — 
representing the seaports of Holland,among which 
is that of the Briel. 

BOL, FERDINAND, was born at Dordrecht in 1611. 
Of his life we know but little. He went when a — 
child with his parents to Amsterdam, his future 
home; studied under Rembrandt; was made a 
citizen ; married, in 1653, Elisabeth Dell; and died 
there in 1681. His masterpiece, the ‘Four Regents — 
of the Leprosy Hospital,’—which formerly hung in 
that institution at Amsterdam, and is now in the 
Townhall,—at a certain exhibition held for chari- 


table purposes is said to have received more notice 


and praise than any of the works of his master, — 
Rembrandt. Yet Bol was a most uncertain painter; 
and although, while under the influence of Rem- — 
brandt, he produced works that may have passed _ 


as being the work of the master himself, he latterly 
degenerated into a bad imitator of Rembrandt, and 
appears even to have exaggerated the faults of his _ 
manner and style without retaining the power of ~ 
giving the superb effects of light and shade which, 
while in that master’s studio, he certainly once pos- 
sessed. This change is apparent in 
those paintings of Bol that bear a later Be 
date than 1660, when he had probably = 
left Rembrandt. , 
The following are his principal paintings: 
Amsterdam. Museum. Portrait of Ferdinand Bol. 
Portrait of Arthur Quellinus, 
Sculptor; Bor. 1663. 
Portrait of Admiral Michiel Adri- 
ansz de Ruyter; F. BOL FECIT. 
1677. a 
A Mother with her two Children ; ~ 
¥. BOL FECIT. ie 
The Instruction; F. Bot. 1663. 
Portrait of Admiral de Ruyter. 
Town Hall.Four Regents of the Leprosy Hos- 
pital (his eens | q 
y; EF. BOL 


Amsterdam. Ba 


” 39 
” 


Berlin. Museum. Portrait of an Old La 
FECIT. 1642. a 
Brussels. Gallery. Portrait of a Man; F. Bot F. 1660. 


The F and the B interlaced as 
given above. (Formerly called a 
Rembrandt.) 


% 


: Brussels. Gall ery. S Ditenit of a Woman; F. por F. 


1660. (Formerly called a Rem- 


day _». brandt.) 
am . Portrait of Saskia van Ulenburgh, 
. _ wife of Rembrandt van Ryn. 
Cambridge. Fitzwil- A Portrait 
liam Mus. : 
Dresden. Gallery. Rest on the Flight into Egypt; r. 


BOL FECIT. 1644. 
Jacob’s Vision; F. BOL FECIT. 
Joseph presenting Jacob to Pha- 
h 


” ” 
” ” 


raoh. 
Portrait of Ferdinand Bol. 
Portrait of a Young Man holding 
his Hat and Gloves in his Hand ; 


Frankfort. Stddel. 


F. BOL. 1644. 
a " Portrait of a Man with Curly Hair ; 
F.BoL. 1659. 
Hague. Gallery. Portrait of Van Juchen. 
Ri tig AN Portrait of Engel de Ruijter; F. 
BOL. 1669. 


Liverpool. Jnstitute. The Angel appearing to Hagar. 
London. Wat. Gallery. Portrait of an Astronomer; F. 
BOL FECIT. 1652. 

Northirook ) Portraits of a Bride and Bride- 
Coll. groom. 
A Scene from Guarini’s ‘ Pastor 
Fido.’ 
Town Hall. Allegory of Peace (painted in 
64 


9 


Leyden. 


1664). 

Munich. Pinakothek. Abraham, about to offer up Isaac. 
stopped by an Angel. 

Portrait of a Man clothed in Black 

A Philosopher in Meditation. 

Portrait of a Mathematician. 

a eae. Portrait of a Man; F. Bon. 1659. 

Petersburg. Hermitage. Portrait of a Countess of Nassau- 

ie Siegen (probably Ernestina, wife 
of John the younger). 

Portraits of Persons, unknown— 

as Theseus and Ariadne. 

The Savant, writing. 

Portrait of a Man. 

Portrait of a Lady, in black, seated, 
holding her gloves. 

Portrait of a Young Man, his right 
hand on a table. 

Portrait of a Young Lady, stand- 
ing before an old Man, who is 
seated (miscalled ‘Esther and 
Ahasuerus’). 

The Philosopher (signed). 

Portrait of a Young Man (with a 
forged signature of Rembrandt). 
1641 


” 


Louvre. 


” ” 


Portrait of an Old Woman; F. BOL. 
1651; ovr 81 JAER. 

Portrait of Dirk van der Waeijen ; 
F. BOL. 1656. 

Portrait of a Lady; F. BOL FECIT. 
1652. 


” 9 


Rotterdam. Museum. 


” ”? 


Bol’s etchings are highly esteemed; they are 
executed in a bold and free manner, and his lights 
and shadows are very judiciously managed. Al- 
though they are not equal in lightness of touch 


and tasteful style to the etchings of Rembrandt, 
they possess great merit. 


The following is a list 
of nearly the whole of his prints : 


PORTRAITS AND HEADS. 


A young Man, with a round Hat; marked Bol fec. 

An Officer with his hands on the Hilt of his Sword; 
Bol fec. 1643. 

A young Man, with a Cap and Feathers; F. Bol. 1642. 

A young Woman, half length, with a Cap and Feathers ; 
marked F. Bol f. 1644; fine, oval. 

The Woman with the Pear, at a Window; in the 
manner of Rembrandt ; very fine. 

An old Man sitting in a Chair, with some Books and an 
unlighted Candle; marked Bol ; scarce. 


PAINTERS AND ENGRAVERS. 


An old Man, half length, with a Bonnet, leaning on a 
Cane ; in the manner of Rembrandt ; F. Bol fec. 1642. 

Bust of an old Man, seen in front, with a fur Robe, 
fastened with Diamonds; no name ; very scarce. 


VARIOUS SUBJECTS. 


A Philosopher in Meditation, resting on a Table, on 
which are some Books and a Globe; very fine. 
Another Philosopher, holding a Book; F. Bol. 1642. 
The Astrologer, an old Man sitting at a Table, with 
Books and a Globe; he wears a flat Hat, and his 
Hands are crossed. 
The Family—A Woman suckling a new-born Infant, 
with a Man holding Linen; F. Bol. 1649. 
Abraham’s Sacrifice ; an arched plate; F. Bol f. 
Hagar in the Desert, with the infant Ishmael; F. Bol f. 
A very scarce print, mentioned by Heineken. 
The Sacrifice of Gideon. 
is Pap in a Cavern, contemplating a Crucifix; F 
0 
BOL, Hans, or JAN, a Flemish painter and en- 
graver, was born at Mechlin in 1534. After study- 
ing two years under an obscure painter, he travelled 
through Germany, and passed some time at Heidel- 
berg, where he was employed by the Elector of 
the Palatine for two years. After visiting his 
native city he went, in 1572, to Antwerp, where he 
stayed till 1584. He then visited Bergen, Dor- 
drecht, and Delft, but he subsequently settled at 
Amsterdam, where he died in 1593. His works, 
which were greatly esteemed, included several 
copies from the most eminent masters. Van 
Mander speaks highly of two pictures by this 
master, representing ‘Dedalus and Icarus,’ and 
‘The Crucifixion.’ He is, however, more known as 
a painter of landscapes and views in the neighbour- 
hood of Amsterdam. A Landscape by him is in 
the Berlin Gallery. He also painted portraits and 
fruit and flower pieces. In later life he devoted 
himself entirely to miniature painting, in which he 
was very successful. The cabinet of miniatures at 
Munich possesses good examples of his art. He 
etched several plates from his own designs in a 
slight spirited style, which he sometimes marked 
H. B., and sometimes H. Bol, the H and B joined 
together. We have the following prints by him: 
The Reconciliation of Jacob and Esau ; circular. 
The first interview between the Servant of Abraham 
and Rebekah. 
Twelve circular plates of the Twelve Months of the 


Year; Ad. Collaert excud. 
A set of twelve Landscapes; ZH. Bol inv. Joh. Sadeler 


exe. 

A set of twelve Landscapes; H. Cock exc. H. Bol. 

A large Landscape, with a Man in a Boat catching a 
Goose, with several figures. 


BOLDRINI, Leonarpo, lived in the 16th century, 
and is the author of an altar-piece, whose panels 
are now hanging apart in the church of San Gallo, 
near Zogno, No further information of him is 
known. 

BOLDRINI, Niccoid, frequently confused with 
Niccold Vicentino, was an engraver on wood, born 
at Vicenza in the early part of the 16th century, 
and who was still living in 1566. His prints are 
chiefly after Titian, and it is thought that he 
studied under that master; they are executed in a. 
bold free style. His ‘works are scarce. He marked 


his prints with the cipher mp 4+ We have the 
following by him: 


John, Baron de Schwarzenburg; with a border; after 
Albrecht Direr. : ee 
The Wise Men’s Offering ; after Titian, with his cipher. 
157 


A BIOGRAPHICAL DICTIONARY OF 


St. Jerome praying ; in a landscape; after the same. 

St. Catharine, St Sebastian, and four other Saints ; 
after the same. | ae 

A mountainous Landscape, with a Woman milking a 
Cow. 


Venus seated on a Bank, holding Cupid, a Squirrel on ) 


the Branch of a Tree; marked Titianus inv. Nicolaus 
. Boldrinus Vicentinus incidebat. 1566. 


BOLLMAN, Hisronymvus, By this artist, who 
was probably a native of Germany, we have some 
prints after Raphael and other eminent painters of 
the Italian school, They are executed in a bold, 
free, and effective style, and possess considerable 
merit, 

BOLLONGIE, Hans or JAN BoLonaier, flourished 
in Holland in the middle of the seventeenth cen- 
tury. He entered the Painters’ Guild at Haarlem 
in 1623, and is again mentioned in the records in 
1642. Neither his birth nor his death is recorded. 
In the Rotterdam Museum is a ‘Scene of a Carni- 
val,’ signed H. Botioneiz, 1628. _ A flower-piece, 
marked I. B, 1625, in the Dresden Gallery is attri- 
buted to him. Horatius Botoneier of Haarlem 
was also a painter; he died in 1681. 

BOLOGNA, ANDREA DA, was a follower of Vitale. 
A painting by him, representing ‘The Virgin and 
Child,’ signed Dz BononIa NATUS, ANDREAS FATUS 
A.D. MCCCLXXII,, is in the church Del Sacramento at 
Pansola, near Macerata. Another example of this 
painter is in a convent at Fermo, but Bologna does 
not possess any work by him. 

BOLOGNA, CrisTororo pA, has been claimed as 
belonging to Bologna, Modena, and Ferrara, As 
his works are found in the last-named city, it is 
presumed that he lived there. He painted toward 
the close of the 14th and the beginning of the 15th 
century. Among his works at Ferrara, an ‘ En- 
tombment,’ signed XPOFORUS FECIT, in the Costabili 
Collection, is worthy of note. 

BOLOGNA, LatTanzio DA, was, according to 
Baglione, a native of Bologna, and a scholar of the 
Carracci. On leaving that celebrated academy he 
went to Rome, and was employed by Sixtus V. in 
painting the ceiling of one of the saloons in the 
Lateran, He also painted the ceiling in the chapel 
of Sixtus V. in the church of Santa Maria Mag- 
giore, representing a choir of angels, In Santa 
Maria de’ Monti is a fine picture by him of the 
‘Flagellation.’ This painter promised to arrive at 
a high rank in the art, but being naturally of a 
weak constitution, which was probably impaired 
by constant application, he died, much regretted, 
at the age of 27. 

BOLOGNA, Lorenzo DA. See SABBATINI. 

BOLOGNA, Niccotd pa, is the author of a mis- 
sal, with the date 1374, in the Munich Gallery, and 
of miniatures in a Commentary on the New Testa- 
ment, in the library of the Vatican, at Rome. 

BOLOGNA, PELLEGRINI DA. See PELLEGRINI. 

BOLOGNA, Simone DA, who painted from 1370 
to 1377 at Bologna, is thought to have been a pupil 
of Franco Bolognese. He is also called ‘Simone 
de’ Crocifissi,’ in contradistinction to Vitale, who 
never treated that subject, whilst Simone painted 
little else. His figures are somewhat masculine 
and coarse. His chief works are in Bologna: 


8. Giacomo pate Crucifixion (Smmon FECIT HOC 
Maggiore. ( Croce OPUS A.D. MCCCLXX.). 


S.Stefano. Fourth church. Crucifixion (signed). 

Seventh church. St. Ursula and her companions. 
Coronation of the Virgin 

{ (SIMON FECIT). 


” 


ss Academy. 
158 


Other paintings by him are in Modena, Ferrara, 
and elsewhere. : "gh 4 
BOLOGNA, Tommaso VINCITORE DA, See VIN- — 
CITORE. | ’ 
BOLOGNA, ViTaLE DA. See CAVALLI, P 
BOLOGNESE, Franco, a miniature painter of — 
the 14th century, is said to have received instruc- ~ 


‘tion from Oderigi of Gubbio. In conjunction with 


that master and Giotto he was employed by Pope — 
Boniface VIII. to illustrate several books, now in 
the library of the Vatican. Though inferior to 
Giotto, Dante gives him a higher rank in the 
‘Purgatorio’ (xi. 83). Franco Bolognese was the — 
founder of a school of painters at Bologna, and _ 
instructed, amongst others, Vitale, Lorenzo, Si- — 
mone Jacopo, and Cristoforo da Bologna. | 

BOLOGNESE, It. See GrimaLpI, Grov. FR., alsc 
MonrI, 

BOLOGNINI, Carto, who is mentioned in the 
‘ Abecedario Pittorico’ of Padre Orlandi, was born 
at Bologna in 1678 (Zani says 1662), and was first 
a scholar of Mauro Aldrovandini. He afterwards — 
studied under Giulio Trogli. He excelled in paint- 
ing architectural views and perspective, and was — 
much employed at Vienna, where he resided some _ 

ears. He died in 1704. 

BOLOGNINI, Gracomo, the nephew of Giovanni 
Battista Bolognini, was born at Bologna in 1664. 
He received his instruction in the art from his 
uncle, and became a reputable painter of history. 
There are some of his pictures in the churches at _ 
Bologna. In that of SS. Sebastiano e Rocco there ~ 
is a picture of ‘ St. Francis receiving the Stigmata;’ 
and in that of the Purita, ‘The dead Christ, with 
the Virgin Mary and Mary Magdalen.’ He died ~ 
in 1734, 

BOLOGNINI, Giovanni BartTistTa, a Bolognese 
painter and engraver, was born at Bologna in 1611, 
and died at the same place in 1688. He was one 
of the ablest scholars of Guido Reni. There are 


several of his pictures in the churches at Bologna, — F 


In Santa Maria Nuova is a picture by this master, 
representing ‘The Virgin Mary and Infant Jesus, 
with St. Dominic, St. Eustatius, and Mary Mag- 
dalene.’ In the church of the Servi, ‘The dead 
Christ, with the Virgin Mary, St. John, and others;’ 
in Santa Lucia, ‘The Immaculate Conception,’ and 
in the Pinacoteca of that town isa ‘Magdalen’ by 
him, This artist etched some plates after the works 
of Guido, in a slight spirited manner; among them 
are the following: 

The Murder of the Innocents; after Guido. 

St. Peter made Head of the Church; after the same. 

Bacchus and Ariadne ; in three sheets; after the same. 

The Crucifixion ; after the picture in the church of the 

Capuchins at Bologna. 

BOLONGIER. See BoL.onets. 

BOLSWERT, Bofitrus Apam A, an eminent en- 
graver, was born at Bolswert, a town in Friesland, 
about 1580. It is not said by whom he was in- 
structed in the art of engraving; but,in company 
with his younger brother Scheltius, he settled at 
Antwerp as a printseller and engraver. He died 
in that city about the end of the year 1633. He 
worked entirely with the graver, and seems to 
have adopted the free open manner of Cornelis 
Bloemaert. The plates that he engraved after 
Rubens are, however, in a more finished style, and 
fuller of colour. He sometimes signed his plates 


Alodams B olsvert, & sometimes RR olsuerd. 


His principal plates are the following: 


F. Adam Sasbout; inscribed Omnia vanitas. 

John Bergman, Jesuit, kneeling before an Altar, point- 
ing to a Skull. 

St. Aloysius Gonzaga kneeling before a Crucifix. 

William Louis, Count of Nassau. 

William of Nassau lying in State. 1618. 

Seventy-seven plates for the ‘ Life of Christ ;’ published 
at Antwerp 1622 and 1623; Het Leven, &c. 

een for a book entitled ‘The Pilgrimage ;’ pub- 
lished at Antwerp in 1627. 


Kat 


VARIOUS SUBJECTS AFTER DIFFERENT MASTERS. 
The Adoration of the Shepherds; after Abr. Bloemaert. 
1618. 

The Repose in Egypt; after the same. 

Twenty-four of the Hermits of the Deserts; Silva Ana- 
ghoretica ; published at Antwerp in 1619; after the 
same. 

Twenty-six of the Hermitesses; after the same. 

Four of landscapes and figures; after the same. 1613. 

Set of twenty landscapes; numbered; after the same. 
1616. 

Fourteen of animals; after the same; B. & Bolswert 

atfec,. I611. 

Jesus Christ, with Mary and Martha; after J. Goiemar ; 

_ B. & Bolswert sc.; scarce. 
The Judgment of Solomon; after Rubens. 
bor Resurrection of Lazarus; after the same; very 
e. 

The Last Supper; after the same; P. P. Rubens pinz. 
Boet. & Bolswert sc. ; very fine. 

Men contending against Animals; after D. Vincken- 
booms ; B.d& Bolswert sc.; scarce. 

A Landscape, with Adam and Eve in Paradise; after the 
same; B. a Bolswett sc.; scarce. 


BOLSWERT, ScHeEtrTius A, a very distinguished 
engraver, was the younger brother of Boetius Adam 
A Bolswert, and was born at the town of Bolswert, in 
Friesland, in 1586. He settled with his brother at 
Antwerp, where he became one of the most cele- 
brated engravers of his country. He died there 
in 1659. The plates of this excellent artist are 
worked entirely with the graver, and it does not 
appear that he made any use of the point. He 
engraved many plates after the most eminent of 
the Flemish masters, but he has particularly dis- 
tinguished himself by the admirable performances 
he has left us, after some of the finest pictures of 
Rubens and Van Dyck, which he represented with 
a judgment and ability that give them more effect 
than can well be expected in a print, and appear 
to exhibit the very character and colour of the 
paintings. It was not unusual for Rubens to retouch 
his proofs, in the progress of the plates, with chalk 
or with the pencil, which corrections, attended to 
by the engraver, contributed not a little to the 
characteristic expression we find in his prints; 
proofs of this description are to be met with in 
the portfolios of the curious. He engraved with 
equal success historical subjects, huntings, land- 
scapes, and portraits; and the number of his 
prints is very considerable. His plates are gener- 


ally signed with his name, or thus, (A ; GI 


ols. The following are his principal prints, of 
which we have given rather a detailed list : 


VARIOUS SUBJECTS, MOSTLY AFTER HIS OWN 
DESIGNS. 


The Infant Jesus and St. John playing with a Lamb. 

The Virgin Mary, and Infant Jesus sleeping. 

The Virgin giving suck to the Infant. 

The Virgin Mary, with her hands folded on her Breast. 

The Virgin Mary with the Infant in the clouds, with 
Angels and Cherubim. 


PAINTERS AND ENGRAVERS. 


‘ _ PORTRAITS AND SUBJECTS FROM HIS OWN DESIGNS. | The Infant Jesus caressing the Virgin Mary, and St. 


Joseph holding a Pear. 
Twelve half-length figures of Saints. 
Twelve other half-length figures of Saints, beginning 
with St. Peter. 
A Hermit kneeling before a Crucifix. 
Mater Dolorosa. 
Jesus Christ triumphing over Death. 
St. Barbe, Martyr. 
St. Stanislaus Koska, kneeling before an Altar. 
St. Francis Borgia. 
St. Alfonso Rodriguez. 
Robert Bellarmin, of the Society of Jesus. 
Leonard Lessius ; another Jesuit. 
An emblematical subject of Prince Ferdinand ; inscribed 
In te spes reclinata recumbit. 
Two plates of a Thesis; dedicated to Sigismund, King 
of Poland. 
Six plates, with the Frontispiece, for the Académie de 
VEspée ; by Thibault. 1628. 
The Dispute between the Gras and the Meagre; B. A. 
Bolswert inv. 


VARIOUS SUBJECTS, AFTER DIFFERENT FLEMIS8H 
* MASTERS, 


The Death of a Saint, and that of a Sinner; after Die- 

enbeeck. 

The Dead Christ on the Knees of the Virgin Mary; 

after the same. 

The Crucifixion of the Three Jesuits at Japan; after the 

same. 

The Crucifixion; Jac. Jordans inv. et pinz.; the best 

impressions are before the cwm Privilegio Regis. 

Mercury and Argus; after the same ; the good impressions 

are before the address of Blooteling ; fine. 

The infant Jupiter; after the same ; fine. 

Pan playing on a Flute; after the same ; fine. 

Concert; entitled Soo d’Oude songen, soo pepen de 

Jongen ; after the same. 

Pan holding a Basket of Fruit, and Ceres crowned with 

Corn, and a Man sounding a Horn; after the same ; 
very scarce. 

The Salutation ; after Gerard Zegers. 

The Return of the Holy Family out of Egypt; after the 
same. 

The Virgin appearing to St. Ignatius, who is kneeling ; 
after the same. . 

St. Francis Xavier, tempted by the Devil; after the 
same. 

Peter denying Christ; after the same ; very fine. 

Abraham sacrificing Isaac; after Theoodor Rombouts. 

A Concert ; after the same. 

The Virgin with the Infant Jesus holding a Globe; after 
Erasmus Quellinus. 

The Communion of St. Rosa; after the same. 

The Triumph of the Archduke Leopold William, 
Governor of the Netherlands, 1653; four sheets; after 
the same. 


PORTRAITS, ETC., AFTER VAN DYCK. 


Andries van Ertvelt, painter of Antwerp. 

Martin Pepin, painter. 

Adriaan Brouwer, painter. 

Jean Baptiste Barbe, engraver. 

Justus Lipsius, historiographer. 

Albert, Prince of Aremberg. 

Mary Ruthven, wife of Van Dyck. 

Margaret of Lorraine, Duchess of Orleans. 

Willem de Vos, painter. 

Sebastiaan Vranck, painter. 

Maria mater ge 

The Holy Family, 

The Virgin and the Infant Christ on her Knee, 
Female Saint holding a Palm. iv 

The Holy Family, with the Infant sleeping in the Arms 
of the Virgin. 

The Holy Family in a landscape, with several Angels. 

Christ crowned with Thorns; very fine. 

The Elevation of the Cross. oe ; 

The Crucifixion, a grand composition, with two Men on 
horseback, and a figure presenting the Sponge to 
Christ. On the other side, the Virgin Mary and St. 
John standing, and Mary Magdalene kneeling and 
embracing the Cross. This is considered one of the 
most beautiful engravings by Bolswert. In et 


with an Angel holding a Crown. 
with a 


he 


SMES Wan EO Ware TTS AG 
we eee A PN NE oa , 


is i = 
Ah 


A BIOGRAPHICAL DICTIONARY OF 2s” 


impressions, which are very scarce, the hand of St. 
John is not seen on the shoulder of the Virgin: in 
the second impressions, the hand of St. John rests 
on the Virgin’s shoulder, and the name of Van Dyck 
is changed from the left to the right hand corner 
of the plate. In the last impressions the hand was 
erased, probably to give them the appearance of first 
impressions, but the trick is easily discovered by the 
superiority of the first in point of clearness and 
colour. 
SUBJECTS AFTER RUBENS. 


The Brazen Serpent; the best impressions are those 
which have the word Antwerpie at the right hand 
corner, without the name of G. Hendrix. 

The Marriage of the Virgin; the best impressions have 
the name of Hendrix, without the word Antwerpie. 

The Annunciation ; the best impressions are those with 
the address of 1. van den Enden. 

The Nativity ; the best impressions have the same ad- 
dress. 

The Adoration of the Magi; the same. 

The Return of the Holy Family from Egypt; the same. 

The Feast of Herod, with Herodias presenting the Head 
of St. John to her Mother. 

The ae epoutiouse giving the Head of St. John to He- 
rodias. 

The miraculous Draught of Fishes; in three plates. 

Christ crucified between the Thieves; G. Hendrix exc. 

The Crucifixion, a Soldier on horseback piercing the 
side of our Saviour; dated 1631; extremely fine. 

The Crucifixion, with the city of Jerusalem in the dis- 
tance ; UM. van den Enden exc. 

The Dead Christ in the Lap of the Virgin Mary, with 
St. Francis; the same subject is engraved by Pontius. 

The Resurrection ; Jf. van den Enden excudit. 

The Ascension ; the same. 

The Four Evangelists. 

The Fathers of the Church; Nic. Lauwers exc. 

The Destruction of Idolatry ; in two sheets; the same. 

The Triumph of the Church ; in two sheets; the same. 

The Immaculate Conception ; dnt. Bon. Enfant exe. 

The Assumption ; arched; UM. van den Enden exe. 

The Assumption, with one of the Disciples lifting the 
Stone of the Sepulchre; J. van den Enden ; the im- 
pressions with the address of G. Hendrix are posterior, 
and those with the name of C. van Merlen are re- 
touched. 

The Infant Jesus embracing the Virgin Mary; J. van 
den Enden exc. 

The Virgin Mary holding a Globe, and the Infant Jesus 
holding a Sceptre. 

The Holy Family, with the Infant Jesus and St. John 
caressing a Lamb. 

The Holy Family, with a Parrot on a Pillar; 4. Bonen- 
Fant exe. 

St. Ignatius and St. Francis Xavier; the first impres- 
sions are before the name of /udens. 

The Education of the Virgin by St. Anne; the best im- 
pressions are without the name of Hendriz. 

St. Cecilia; very fine. 

St. Theresa at the Feet of Christ, interceding for the 
Souls in Purgatory; J. van den Enden exc, 

The Continence of Scipio; the best impressions are be- 
fore the address of G. Hendriz. 

Silenus, drunk, supported by a Satyr, with another 
figure ; the best impressions are those with the name 
of Bolswert only, without the address. 


LANDSCAPES AND HUNTINGS. 

A grand Landscape, deluged by a Torrent; in a moun- 
tainous part of it the subject of Baucis and Philemon. 

A large Landscape, with a view of the Sea-coast and a 
Shipwreck. 

A grand woody Landscape, with the Chase of Meleager 
and Atalanta. 

A view near Mechlin, with Haymakers and a Waggon, 
and figures driving Cattle. 

A view of a Stable with Horses and Cows, and the sub- 
ject of the Prodigal Son,—These five landscapes are 
highly esteemed and finely executed. 

A set of twenty smaller Landscapes. 

A set of twelve Huntings of different animals, of which 
one is a Lion Hunt, with figures on horseback; very 
spirited and fine. 


160 


en 


‘BOLT, JoHann FRrIEpRIcH, an engraver who — 


worked principally in stipple, was born at Berlin 4 
in 1769, and died there in 1836. He was a pupil 


of D. Berger. His best works are after Cranach, 
Ramberg, and Dahling. | - aa 

BOLTON, Jamezs, a pupil of B. Clowes, the 
engraver, was known as a flower painter in water 
colour in the North of England. He died near — 
Halifax in 1799 (Redgrave). . ’ 

BOLTRAFFIO. See BELTRAFFIO. 

BOLZETTA. See Caporin, MATTHIAS. 

BOM, Pieter, a Flemish artist, who painted 
landscapes in distemper, was born at Antwerp in 
1530. He was admitted into the Guild of St. Luke 
in 1560, and became dean of that corporation in 
1599. The date of his death is not known. _— 

BOMBELLI, Sepastiano, was born at Udine in 
1635, and was a schohar of Guercino. He after- 
wards went to Venice, where he studied and copied — 
the works of Paolo Veronese and Tintoretto with — 
so mouch success that some of his reproductions are 
scarcely to be distinguished from the originals. He 
painted historical pieces in the early part of his life, 


but from the lucrative prospect opened to him in — 


portraits, he was induced to devote himself to that _ 
branch of the art, although he had already painted _ 
some historical pictures of great promise. He 
visited most of the courts of Germany, where he _ 
painted portraits with success. Boschinisays that 


for portraits he could not be surpassed. Hedied 


in 1724. The Belvedere at Vienna possesses a 
portrait of Francesco de’ Medici by him, and his ~ 
own portrait by himself is in the Uffizi, Florence. — 

BONACINA, GIovANNI BATTISTA, an engraver, 
was born at Milan about the year 1620. He engraved 
some plates of portraits and historical subjects in 
a neat style, though rather dry and stiff. They are 
executed entirely with the graver, and he seems to 


have imitated, without, however, equalling, the style 4 


of Cornelis Bloemaert. We have the following by 
him : 
PORTRAITS. 
Pope Clement IX. 
Guido Visconti. 


Hermes Visconti. 2 
Giovanni Battista Conte Truchi. 


SUBJECTS. 


The Alliance of Jacob and Laban; after Pretro da Cor- 
tona, 
St. Martin kneeling before the Virgin and Infant Jesus ; 

after the same. 
The Holy Family, with St. Catharine and St. John; 
after Andrea del Sarto. 


BONASIA, BarTotomMEo, is the author of a 
Pieta in the Modena Gallery, signed ‘Hoc opus 
pinxit Bartholomeus de Bonasciis,’ and dated 1485. 

BONASONE, Givxio, (or Buonasone£,) an Italian 
painter and very distinguished engraver, was born 
at Bologna about the year 1498, and worked from ~ 
1521 to 1574. He studied painting under Lorenzo 
Sabbatini, and there are some of his works in 
the churches at Bologna; particularly in San 
Stefano is a fine picture by him of the ‘Souls 
in Purgatory.’ He is, however, much more cele- 
brated as an engraver than a painter, and in this 
branch of art had the advantage of being educated 
by Marc-Antonio. Bonasone has engraved after the 
works of Michelangelo, Raphael, Giulio Romano, 
Parmigiano, and others, and several plates from > 
his own designs. His prints, with a very few 
exceptions, are entirely worked with the graver, 
and although his style is neither so clear, firm, nor 


SA 


< t 


f- masterly as that of his admirable instructor, nor 
his outline so correct and pure, his works are exe- 
cuted with great facility and considerable elegance, 


and they are held in no small degree of estimation 


by the judicious collector. We admire in his prints 
an excellent distribution of the lights and shadows, 
and a breadth in the masses that is very masterly. 


His plates are generally marked with his name, 
either at length or contracted, as Julio Bonoso, 
and sometimes with the initials B., J. B., or 


I. B. F., and also with the cipher [\Q- His 


work is considerable; the following is a list of his 
plates most worthy of notice : 


PORTRAITS. 


The Pope Marcellus II., without the name; scarce. __ 
Philippus Hispaniarum princeps, Caroli V. filius; Julio 
57 A8 


Cardinal Pietro Bembo. At. 77; after Titian. 
Raphael d’ Urbino, with and without the name. 
Michelangelo Buonarroti; circular. 

‘Francisci Flori Antwerpiani inter Belgos pictoris. 
Joannes Bernardinus Bonifacius, &e. M.D.XLVII. 
Cardinal Ardingbelo ; after a monument. 


SUBJECTS OF SACRED HISTORY. 


Adam and Eve; after his own design. 

Adam tilling the Earth and Eve spinning; the same. 

The Holy Family; J. Bonasone, Inventore. 

The Nativity ; the same. 

The Resurrection ; the same. 

Twenty-nine of the Passion; entitled Passio Domim 
nri. Jesu Christi ; Julii Bonasonis opus, &c. 

Thirteen of the Life of the Virgin ; marked with a B., 
and some of them with a D. 

Adam and Eve driven from Paradise; after Amico 


otaee, 

St. rge; after Giulio Romano; with the names of 
the artists. | 

The Holy Family ; after the same. de 

The Nativity, a grand composition ; attributed to Giulio 
Romano. : 

The last Judgment ; after Michelangelo ; inscribed Julius 
Bonasonius Bononé propria Michaelis Angeli, &c. 

Solomon, David, and Jesse, part of the Sistine Chapel ; 
after the same ; Julio Bonasone imitando, &c. 

The Creation of Eve; after the same ; with his name. 

Judith with her Servant coming out of the Tent of 
Holofernes ; after the same. 

The Miracle of the Manna, and Moses striking the Rock, 
on the same plate; F. Parmesanino inv.; Julio Bo- 
lognese fec. 1546. 

Another Nativity ; after Parmigiano. 

St. Joachim and St. Anne, presenting the Virgin Mary 
to the High Priest; after the same. 

‘The Virgin Mary and Infant Jesus in the Air; after the 
same, F. P. I. V.; J. Bonasonis imitando, &c. 

St. Peter and St. John healing the Lame; after Perino 
del Vaga. 

St. Paul preaching ; oval; after the same. 

Christ seated on the Tomb, supported by two Angels, 
with the Virgin Mary and St. John; after Polidoro B. 
1532. 

The Nativity of John the Baptist; after Pontormo ; 
Jacobus Florentinus Inventor, Julio B. F. 

St. Cecilia; after Raphael. 

Christ meeting St. Peter ; after the same. 

St. Peter made Head of the Church; after the same. 

Noah coming out of the Ark; after the same. 

Joseph sold by his Brethren ; after the same. 

The Cup found in Benjamin’s Sack; with the names of 
Raphael and Bonasone. 

The dead Christ on the Tomb, with the Virgin Mary ; 
after Raphael, without the name of the engraver. 

The Entombment of Christ; after Titian, with the 
names of the painter and engraver. 1563. 


SUBJECTS OF PROFANE HISTORY. 


Alexander with Bucephalus and Roxana; circular; 
Julio Bonasone, tnventore. 
M 


t: brs ois PAINTERS AND ENGRAVERS. 


The Triumph of Cupid and Psyche; Julio Bonasone, 
tnventore 

Apollo in his Car, with the Hours, and Time walking on 
Crutches before; L. V. B. Julio Bonasone, inventore. 

Scipio wounded, retiring from the Battle; 7. V. Bonaso 
emitando, &c. 

Clelia, with one of her companions, on Horseback escap- 
ing from the Camp of Porsena; J. V. Bonaso imitando, 


&e. 

Twenty—Of the History of Juno, with Italian verses; 
after his own designs 

The Fall of Phaeton; after Michelangelo. 

Three Female Figures with Veils; after the same. 

The Shipwreck of Aneas ; after Parmtgiano. 

Niobe and her Children ; after Perino del Vaga. 1541. 

The Roman Charity ; a frieze ; after Polidoro. 

Mars and Venus; after Primaticcio. 

Achilles dragging the Body of Hector ; after the same. 

The Taking of Troy; after the same; two sheets. 1545 
Bonasoms F. 


The Rape of Europa; after Raphael ; with the names. 

Venus attended by the Graces; after the same. 

The Birth of Adonis; dated 1586. 

There are also several plates of free subjects and 
statues, bassi-rilievi, and architectural subjects, de- 
scribed in Heinecken’s ‘ Dictionnaire des Artistes,’ 
Cumberland’s Catalogue of the prints of Giulio 
Bonasone is the most accurate that has hitherto 
been published. 

BONATO, Pierro, a pupil of Volpato, was born 
at Bassano in 1765, and died in 1820. He engraved 
plates after Reni, Correggio, &c. 

BONATTI, Giovanni, was born at Ferrara in 
1635, and having shown an early inclination for 
the art, he was, at the age of fourteen, taken into 
the protection of Cardinal Carlo Pio, who placed 
him in the school of Guercino, under whom he 
studied three years. He afterwards went to Rome, 
where he became a scholar of Pietro Francesco 
Mola. He was employed in several works for the 
public edifices. In the gallery of the Capitol are 
two pictures by this master, one representing 
Rinaldo and Armida, the other Sisera and Jael. 
There are other works by him in the Chiesa Nuova, 
and Santa Croce in Gerusalemme at Rome, where 
he died in 1681. In the Uffizi is a ‘St. Charles 
Borromeo’ by him. 

BONAVERA, Domenico Maria, an Italian en- 
graver, was born at Bologna about the year 1650. 
He learned the art of engraving from his uncle 
Domenico Maria Canuti. His plates are chiefly 
etched, and finished with the dry point. He en- 
graved eighteen plates, from the designs of Titian, 
for a book of anatomy for the use of students. 
He used a cipher similar to that of Dominique 


Barriére and of Domenico Bettini, B). We have 
the following prints by him: 
The Baptism of our Saviour by St. John; after Albani ; 
D. Bonavera se. (one of his best works). 
St. Anne teaching the Virgin Mary to read; after Dom. 
Maria Canuti ; Dom. Bonavera fee. 
St. Theresa with the Infant Jesus; after the same. 
The Martyrdom of St. Christiana; after the same (one 
of his best works). 
St. John preaching ; after Lodov. Carracci ; D. Bonavera. 
Lot and his Daughters ; after Ann. Carracci ; D. Bona- 
vera. 
The Cupola at Parma, the Assumption ; after Correggio ; 
Domenico Bonavera sc. 1697. 


BONAY, Francisco, a Spanish landscape painter, 
was born at Valencia in 1655, and died in Portugal 
in 1730. His landscapes are ornamented with 
buildings after Perelle, and cattle in the manner 
of Berchem. His chief work is a landscape in 
the sacristy of the Carmelites at Valencia. 

161 


7 
- 


BONCONSIGLIO. See BuonconsiG.io. 

BONCUORE, Giovanni BATTISTA, was born at 
Abruzzo in 1643, and studied at Rome under Fran- 
cesco Albani. He painted historical subjects with 
considerable success, and his pictures are distin- 
guished by great force and vigour of effect, though 
sometimes heavy in the execution. One of his most 
esteemed works is an altar-piece in the Chiesa degli 
Orfanelli, at Rome. He died in 1699. 

BOND, Joun Danren, a landscape painter of 
Birmingham, flourished in the latter half of the 
eighteenth century. He died near Birmingham in 
1803, aged 78. ' 

BOND, R. SrBasTIAN, landscape painter, was 
born at Liverpool in 1808. He was educated in 
his native city, and practised there for the greater 
part of his life, settling finally at Bettws-y-Coed. 
He occasionally exhibited in London between 1846 
and 1872, but most of his works appeared at 
Liverpool and in the midland counties. He died 
in February 1886. 

BOND, WIx.1AM, was one of the engravers of 
the portraits of Sir Joshua Reynolds. His talents 
are well exemplified in the portraits which he 
executed for Yorke’s ‘ Royal Tribes of Wales,’ pub- 
lished in 1799, It is believed that he died early in 
the nineteenth century. He was Governor of the 
Society of Engravers, founded in 1803. . 

BONDONE, Giorro pi, commonly called Grorro, 
the founder of the noble line of Italian painters, 
was the son of a peasant named Bondone, and 
was born in the little village of Colle in the 
commune of Vespignano, not many miles to 
the north of Florence. Vasari gives 1276 as 
the date of his birth, but Antonio Pucci in his 
‘Centiloquio’ speaks of him as being seventy years 
of age at the time of his death in 1336, which 
would make the date of his birth 1266, This 
latter date is accepted, not without reason, by 
several modern writers, who prefer to trust certain 
internal evidence regarding the master’s life and 
works, rather than the oft-times uncertain testi- 
mony of Vasari. The pretty story, also, that tells 
how the famous painter Cimabue first saw the 
shepherd boy Giotto drawing one of his sheep upon 
the smooth surface of a rock, is relegated by modern 
authorities to the realms of fable. It was Ghiberti 
who first told this pastoral anecdote in his ‘Com- 
mentario,’ and it was merely repeated by Vasari; 
but an anonymous commentator on the ‘ Divina 
Commedia,’ who wrote at the end of the fourteenth 
century, gives a different account. This writer 
states that Giotto was apprenticed by his father 
to a dealer in wool, but that on the way to his 
work he always went into Cimabue’s bottega, and 
finally, being missed for some time by his master, 
he was found there painting busily, whereupon, 
following the advice of Cimabue, his father 
took him from the wool trade and placed him 
as a pupil with Cimabue. Whatever truth there 
may be in this or other legends touching Giotto’s 
boyhood, it is fairly probable that he did study, for 
a time at least, under the guidance of Cimabue, 
although it is the opinion of some modern critics 
that much of his earlier training was acquired at 
Rome and even at Assisi. In the absence, how- 
ever, of any recognizable work belonging to this 
more youthful period of his career, all set opinions 
regarding his early artistic education must remain 
more or less matters of conjecture. Whoever may 
have been his first masters, he soon began to follow 
a an greater teacher than any of these, no other, 


- A BIOGRAPHICAL DICTIONARY 


ws 


indeed, than Nature herself, who had been so long 


neglected for Tradition. Traditionary types soon == 
failed to satisfy the daring young innovator. His 
genius led him at an early stage tolook atnature 


for and by himself, and in so doing he effected a — 


total change in the spirit of the painting of his 
time—a change similar to, although in its after- 
workings far more complete than that which had = 


been already initiated in the field of sculpture, 
some years before, by the Pisani. It is more than 
probable that Giotto himself owed no small debt 
to the example of these great sculptors—and more 
especially to that of his contemporary Giovanni— 
in the right direction of his own ideals, and even in 
the formation of his style and taste. The influence 
of Giovanni’s art upon Giotto is distinctly to be 
traced in many of the latter’s works, and there is 
every reason to believe that the sculptor’s power- _ 
ful personality acted as an incentive of no small — 

account in first pointing out to the young painter — 
the right road to the free expression of his latent 
artistic impulses. Once upon the right path, Giotto’s 
great powers of naturalistic expression evidently 
developed themselves with wonderful rapidity, 
enabling him to break, almost at once, the bonds of 
tradition which bound so many lesser men, and to 
open the way to an entirely new and original 
school of painting. In estimating the value of his — 
work we must therefore regard not only thatwhich | 
he individually accomplished, but also the influence 
of his example upon those who came after him. 
He led the way, and all the great naturalistic 


artists of the next two centuries but followed in 


the path that he pointed out. In his unswerving 
fidelity to the naturalistic ideal, he soon surpassed - 
those very Pisan stone-cutters from whom he had 
probably received his first inspiration, and so — 
powerful and lasting was the influence which he 
left behind him, that it was directly felt by 
sculptors, as well as painters, long after the school 
of Pisa had died a natural death. Ho: 

As has already been said, it is difficult to trace 
satisfactorily Giotto’s development, so many of his 
early works having perished: ‘Some of his earliest, 
according to Vasari, were undertaken for the Badia 
of Florence, and he mentions especially an ‘ An- 
nunciation,’ wherein fear and astonishment were 
most wonderfully depicted on the face of the 
Virgin, All the paintings in the Badia have been ~ 
destroyed, although the ‘ Annunciation’ that called 
forth Vasari’s admiration is supposed by some to 
have been a work by Lorenzo Camaldolense, now 
in the Accademia at Florence. Other paintings, 
in Arezzo, have shared a fate similar to that of 
those in the Badia. 

Opinions now differ widely regarding the 
chronological sequence of Giotto’s remaining 
works, recent criticism having considerably altered 
the generally accepted arrangement of the master’s 
paintings. The prevalent opinion, still upheld by 
the great majority of critics, which places the 
famous frescoes of the Life of St, Francis, in the 
upper church at Assisi, first on the list, appears to 


be based on tradition rather than upon any critical 


study of the works themselves, and it is undoubt- 
edly to Rome that we must look for the oldest of 
the master’s recognizable productions. We know 
for a fact that Giotto was present in the latter city 
in 1298, that he executed in that year, for his 
patron Cardinal Stefaneschi, nephew of Boniface 
VIII., the famous mosaic of the “ Navicella,” and 
that he also finished, at about this same period, at 


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the order of the same prelate, a large high-altar- 
piece for the church of St. Peter, But one of these 
works can be rightly said to have been preserved 
tous. The ‘ Navicella ’—an allegorical represent- 
ation of the Catholic Church, wherein the Apostles 
are seen in a boat, with Christ saving St. Peter from 
the waves—although still shown to the public in 
the portico of St. Peter’s, may safely be said no 
longer to retain more than a reminiscence of 
Giotto’s original composition, so thoroughly and 
frequently has it been restored. The altar-piece, 
however, still remains almost complete in its 
original parts, and in a comparatively exceptional 
state of preservation. It was removed from its 
ancient honourable position at the time of the 
destruction of the old basilica of St. Peter, and 
now hangs dismembered on the walls of the 
Sagrestia dei Canonici, in the new church. Before 
this great work, in all probability the earliest of 
the master’s authenticated paintings, Giotto’s real 
position in the history of art becomes at once 
apparent. Were this altar-piece alone preserved 
to us of all his creations, it would still be amply 
sufficient to uphold for him the proud title of the 
founder of Modern Painting. The most casual 
comparison with the work of his predecessors is 
sufficiently convincing to make clear at once the 
great transformation which the artist here succeeded 
in effecting. His figures are dignified and also 
- graceful, at times reminiscent of the antique, but 
never a mere copy of it; the folds of his draperies 
are at once simple and flowing, clearly showing 
the contours of the body, in utter contrast to the 
minute and oft-times meaningless lining of the 
Byzantine artists; his representation of movement 
is free and unconstrained. It is precisely in his 
development of these last-named qualities, and 
especially in that of Form, that Giotto achieved 
his greatest artistic triumphs. So important a 
factor in his art is this same quality of Form, that 
it is almost solely upon a study of this distinctive 
feature that Giotto’s latest critics have based their 
chronological arrangement of his works. Again, 
in the matter of colour, he has placed before us 
something differing entirely from the painting of 
his time. But what is equally in contrast to the 
work of his Italian and Byzantine predecessors, is 
the individual expression of his figures—and it 
was doubtless this which most strongly impressed 
his contemporaries. ‘‘The persons in grief look 
melancholy,” exclaims an old writer in speaking 
of his work, “and those who are joyous look gay.” 
Such naturalism must indeed have been irresistible 
in its effects on a public so long accustomed to the 
rigid conformity of Byzantine types. 

Of the other works which Giotto is known to 
have executed in Rome, none now remain except 
the fragment of a fresco in San Giovanni in 
Laterano, representing Boniface VIII. in a balcony, 
announcing the opening of the Jubilee of 1300. 

We are in ignorance as to when Giotto under- 
took his first commission at Assisi, but of the long 
series of frescoes which he has left in the church 
of San Francesco in that town, the earliest, repre- 
senting scenes from the Lives of the Virgin and of 
Christ, in the right transept of the Lower Church, 
appear, in point of style, to belong to a period 
closely following on the completion of the 
Stefaneschi altar-piece, with which they have 
much incommon. In charm of colour and grace 
of expression, these works are to be classed among 
the most pleasing of all the master’s creations— 

M2 


PAINTERS AND ENGRAVERS. 


while in depth of feeling and dignity of conception, 
the last fresco of the series, representing the Cruci- 
fixion, remains among the masterpieces of early 
Italian painting, far surpassing the later and 
more realistic treatment of the same. subject in 
the Paduan Arena. The famous allegories of 
‘Poverty, Chastity, and Obedience,’ and the 
‘Glorification of St. Francis,’ on the central ceiling 
of the Lower Church, come next in order, and are 
too well known to require special description. It 
is sufficient to say that they show a marked 
technical advance over the master’s earlier work, 
and in them Giotto has given special prominence 
to his sense of decorative effect, entirely disprov- 
ing the common assertion that he was lacking in 
this latter quality of his art. From these alle- 
gories we may pass to the three interesting 
frescoes in the right transept, representing certain 
miracles of St. Francis—works which exhibit a 
decided tendency toward a more realistic style of 
treatment than is to be found in any of the master’s 
previous creations. Before leaving the Lower 
Church, mention must also be made of the paint- 
ings, generally attributed to Buffalmacco and 
Taddeo Gaddi, in the Chapel of the Magdalen, 
several of which clearly show Giotto’s own handi- 
work. Two of these, one representing the 
Magdalen anointing Christ’s feet, the other the 
Raising of Lazarus, are especially noticeable for 
strong dramatic treatment, and closely foreshadow 
the later work at Padua. Others of these frescoes 
show the co-operation of assistants, and are un- 
equal in merit. 

The long series of paintings in the Upper 
Church, depicting the principal events of St. 
Francis’ life, has given rise to endless discussions 
among art critics of the past half-century. By the 
great majority of writers these frescoes are still 
looked upon as the earliest of Giotto’s extant 
works—an opinion doubtless having rise in the 
tradition that Giotto here carried on and com- 
pleted ‘Cimabue’s’ earlier work, and also in great 
measure due to the changed appearance given 
these frescoes by excessive and total repaint. 
Sufficient may still be gathered, however, from 
what remains, to clearly prove their real position 
in the chronological order of Giotto’s works. The 
advanced feeling for form, the energy of movement 
and simplicity of narration, so clearly shown 
throughout the greater part of this remarkable 
series, surely point to a date of execution posterior 
to all the frescoes in the Lower Church, and but 
shortly preceding those in the Arena Chapel. The 
last nine subjects of this pictured history, relating 
to the death and miracles of the Saint, exhibit a 
marked divergence in style from those that pre- 
cede them, and are probably by the same unknown 
pupil of the master to whom are due the frescoes 
in the chapel of St. Nicholas, in the Lower 
Church. 

It is not quite certain at what date Giotto went 
to Padua; but the Scrovegno Chapel, in the old 
Arena of that city, was not built until 1303, and 
it was its founder, Enrico Scrovegno, a noble 
citizen of Padua, who employed Giotto to decorate 
it. The undertaking was an arduous one, but 
the result was equal to the opportunity, In a 
series of thirty-eight frescoes, the master depicted, 
in a triple course along the walls, the histories of 
the Virgin and of her Divine Son. Beneath these 
lines of pictures were placed thoughtfully-con- 
ceived figures of the antagonistic Virtues and 


: ; i . j oe n es Ba x mee a mh eke A nae : bf) ne i 
A BIOGRAPHICAL DICTIONARY OF sis 


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century, copied Giotto’s composition closely, in 


Vices, while the Last Judgment was painted 
above the arch of the doorway, and the An- 
nunciate Virgin, to whom the chapel was dedi- 
cated, was above the opposite arch. This great 
decorative work at Padua may well be looked 
upon as the culminating expression of Giotto’s 
art. Nowhere do we find his ideal of concise 
directness of representation more successfully 
expressed than is the case here, and nowhere do 
we find him reaching a similar perfection in the 
presentation of form and movement. The entire 
decoration of this beautiful chapel rightly takes a 
foremost place among the wonders of modern art. 
To enter into a detailed mention of the various 
frescoes would here be impossible. The great 
painting of the ‘Last Judgment’ alone would offer 
material sufficient for an almost endless study. 
The influence of Dante was no doubt strong over 
Giotto at the time when he painted this great 
work, and it is conceived quite in a Dantesque 
spirit. 

It is impossible to enumerate all the works that 
Vasari attributes to Giotto. Most of these have 
long since perished, so that we have only his tes- 
timony in respect to them; but it would really 
seem that Giotto went about from one place to 
another in Italy, painting wherever he went, in the 
manner Ruskin describes, being regarded merely 
as “a travelling decorator of walls at so much 
a day, having at Florence a bottega or workshop 
for the sale of small tempera pictures.” It is 
not certain whither Giotto next went, after his 
work at Padua was accomplished. Vasari states 
that he painted at various times at Pisa, Verona, 
Ferrara, Ravenna, Urbino, Arezzo, Lucca, and 
Naples, but it is difficult to trace him in these 
cities, though here and there some dilapidated 
fresco is assigned to him. At Naples, especially, 
an important series of frescoes, illustrating the 
Seven Sacraments of the church, in the chapel of 
the Incoronata, has long been attributed to him, 
but without reason, they being evidently later 
works by a pupil. It appears certain, from a 
document not long since brought to light, that 
Giotto really was in Naples in the year 1333, 
working at the orders of King Robert, with whom 
he seems to have been on terms of friendly in- 
timacy. No genuine work remains to us, however, 
to testify to his labours in that city. 

In Florence, Giotto painted no fewer than four 
family chapels in the then newly-built church 
of Santa Croce. All of these chapels were 
covered at different dates with whitewash, the 
decorations of two of them being irretrievably 
lost thereby. Others of these paintings, however, 
in the Bardi and Peruzzi chapels, have been freed 
from their covering, and although terribly re- 
stored and repainted, still afford the spectator 
some idea of their original beauty. The frescoes 
of the Bardi Chapel illustrate the history of St. 
Francis, the same subject that was treated in the 
earlier pictorial history at Assisi. A comparison 
of the two series is interesting, Although lacking 
in the energy of expression so characteristic of 
the earlier works, the latter series shows a great 
advance in distribution and arrangement. In the 
‘Death of St. Francis,’ more especially, Giotto suc- 
ceeded in producing one of the most perfect and 
beautiful compositions known to Italian art, and 
one which was repeatedly copied both by sculptors 
and painters during the two centuries following. 
ery cei as late as the end of the fifteenth 

1 


hee 


his well-known fresco in the church of the SS 


Trinita. The paintings in the Peruzzi Chapel, 
evidently of a somewhat later date, have for their 
subject scenes from the lives of the Baptist and of __ 


7? 


St. John the Evangelist. Although in many parts 


even more ruined than their companions of the 


Bardi Chapel, they still show Giotto at his best 


as a composer, and enable us to arrive at some _ 


faint idea of the monumental quality of his maturer — a 5 


style. 


Still another celebrated series of frescoes in 
Florence—those in the chapel of the Podesta, or 


Bargello—have long been considered to be by 
Giotto’s hand, but they hardly stand the test 


of a severe critical examination, and are appar- 
ently the work of an exceptionally able follower 


whose identity remains as yet to be discovered. 


Apart from the Stefaneschi altar-piece, but a 


few genuine panel-pictures by Giotto have been 
handed down to us. 
takable signs of his handiwork, the best known 
and most important is doubtless the large picture 
of the Virgin and Child adored by Angels, in the 
Florence Academy. The Louvre also possesses a 


fine, though much-damaged, altar-piece, represent- _ a 


ing the Stigmatization of St. Francis. A most 
exquisite example of the master’s work is to be 
found in the sacristy of the Arena Chapel at 
Padua. Another genuine little painting, repre- 


is in the possession of Mrs. J. L, Gardner, 
of Boston, U.S.A. The much-quoted Baroncelli 
altar-piece, with its apocryphal signature, although 
still looked upon by many otherwise competent 
critics as a genuine work, certainly shows nothing 
in common with Giotto’s known manner, and is 


visibly the production of a pupil or follower not — 


far removed from Taddeo Gaddi in character. To 
Taddeo himself undoubtedly belong the two long 
series of little: panels still bearing Giotto’s name, 
in the Accademia at Florence. 

Of Giotto’s private life little is known. Like 
Dante he appears to have been -devoted to the 
Franciscan order. He was a man of great natural 
ability, of shrewd understanding and sound com- 
mon-sense, and, according to all the anecdotes that 
are told of him, was exceptionally quick at repartee. 
He married, at the beginning of the fourteenth 
century, Donna Ciuta di Lapo, and had eight 
children, remarkable, it is said, for their ugliness. 

Giotto’s last work in Florence was as an archi- 
tect. In 1334, after the death of Arnolfo, he was 
made superintendent of the works of Sta. Maria 
del Fiore, and it was from his design, although 
successively altered in its later stages by Andrea 
Pisano and Francesco Talenti, that the beautiful 
Campanile of Florence arose. The lower range 
of bas-reliefs around this bell-tower—illustrative 
of the Creation of Man and his subsequent occupa- 
tions—were also very probably executed under his 
influence and inspiration, if not from his designs, 
by Andrea Pisano. 

Giotto died at Florence on January 8, 1337, 
and was buried in the church of Sta. Maria del 
Fiore. His numerous pupils and followers, known 


under the general name of Giotteschi, many of 


whom had already attained celebrity during the 
master’s own lifetime, were deeply imbued by his 
teaching, and carried on his work with varying 
success throughout the length and breadth of Italy 
in the same naturalistic spirit as himself. 


Of those which bear unmis- 


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BIBLIOGRAPHY. 
Ghiberti. ‘Commentario.’ 

Vasari. Ed. Sansoni. A 
Crowe and Cavalcaselle. ‘New History of Painting in 
Italy.’ ; 
Bean. ‘Giotto and his Works in Padua,’ ‘Mornings 

in Florence.’ : 1 


Chini. ‘ Storia del Mugello,’ 1876. 

Thode. ‘Giotto,’ 1899. 

Zimmerman. ‘Giotto,’ 1899. 

Berenson. ‘Florentine Painters of the Renaissance.’ 
Perkins, F. M. ‘Giotto,’ London, 1902. F.M.P. 


BONE, Henry, the celebrated painter in enamel, 
was born at Truro, in Cornwall, in 1755. His first 
employment was with a manufacturer of china at 
Plymouth ; he afterwards employed his talents at 
Bristol in painting landscapes and groups of flowers 
to ornament porcelain, by which means he acquired 
a thorough knowledge of that art, in which he be- 
came soeminent. He removed to London in 1779, 
and became distinguished by painting in enamel 
‘The Sleeping Girl,’ after Sir Joshua Reynolds. 


But the works that will give him lasting fame are 


the ‘Portraits of Illustrious Englishmen,’ eighty- 
five in number, which he enamelled after the 
original pictures in the royal and other collections. 
These must have cost him much labour, expense, 
and anxiety; but, unfortunately, little pecuniary 
reward, They are now at Kingston Lacy, Wim- 
borne, in the possession of Mr. Ralph Bankes. 
In 1811 he produced a copy in enamel (eighteen 
inches by sixteen) of ‘Titian’s ‘Bacchus and 
Ariadne,’ for which he received 2200 guineas. 
He was elected an Associate of the Royal Academy 
in 1801, and in the same year was appointed 
painter in enamel to George IH. In 1811 he was 
made a full member of the Academy, and died in 
1834, when his miniatures were dispersed by 
auction. 

BONE, Henry Piexce, the son of Henry Bone, 
was born in 1779, and was instructed in enamel- 
painting by his father. He painted and exhibited 
portraits and other subjects in oil from 1799 to 1833, 
when he turned his attention definitely to enamel 
painting, which he practised till 1855, when he 
died in London. He was enamel-painter to Queen 
Adelaide, and to Queen Victoria and the Prince 
Consort. 

BONE, Ropert TREWICK, was born in London in 
1790. He was the son of Henry Bone, the cele- 
brated enamel painter, who instructed him in art. 
He exhibited classical and sacred pictures at the 
Royal Academy and the British Institution from 
1813 to 1838, and succeeded in gaining, in 1817, 
the £100 premium for his picture of ‘ A Lady with 
her Attendants at the Bath.’ He died in 1840, 

BONESI, GIovANNI GIROLAMO, according to Za- 
notti, was born at Bologna in 1653, and was a 
scholar of Giovanni Viani. He painted several 
pictures for the churches and public edifices at 
Bologna, in which he appears to have imitated the 
style of Carlo Cignani. Among his most esteemed 
productions are the following: ‘St. Francis of Sales 
kneeling before the Virgin,’ in the church of San 
Marino; ‘St. Thomas of Villanuova giving Alms 
to the Poor,’ in San Biagio; and ‘The Virgin and 
Infant Christ, with Mary Magdalene and St. Hugo,’ 
at the Certosa. He died in 1725. 

BONFANTI, Anronio, called In TorRicELia, 
was a native of Ferrara, in which city there are 


several of his works in the churches and convents. 


PAINTERS AND ENGRAVERS. 


His most esteemed pictures arethe ‘ Purification,’ and 
‘Christ disputing with the Doctors,’ in the church of 
San Francesco, and the ‘ Holy Family’ in that of La 
Santissima Trinita. 

BONFIGLI, BEneperro, (or BUONFIGLIO,) was 
born at Perugia about 1420. His earliest work was 
an ‘ Annunciation,’ originally in the Orfanelli at 
Perugia. His masterpiece is a series of frescoes in 
the Palazzo del Consiglio in the same city, which re- 
present the Lives of St. Louis of Toulouse and 
St. Herculanus ; they were commenced in 1454 and 
not finished in 1496, in which year Bonfigli’s will 
is dated. This work occupied much of his time, 
and gained him considerable reputation in his native 
city. An ‘Adoration of the Magi,’ said to have 
been painted in 1460, in San Domenico, is con- 
sidered one of his best productions. Among other 
pictures of his may be mentioned a Banner (Gon- 
falone) painted in 1465 for the brotherhood of San 
Bernardino, and representing the deeds of their 
patron saint; another Gonfalone painted for the 
brotherhood of San Fiorenzo in 1476, in honour of 
the Virgin, who had been prayed to intercede for 
the cessation of the plague; a ‘ Virgin of Mercy,’ 
painted in 1478 for the church of the Commenda 
di Santa Croce; and several others in and around 
Perugia, Bonfigli is especially noticeable for. the 
correctness of his perspective, the beauty of his 
colouring, and his love of detail. He was much 
influenced by Domenico Veneziano and Pietro della 
Francesca. According to Lanzi, Perugino was 
his pupil, but there is nothing to corroborate the 
yeaa We have no record of Bonfigli after 

496. 

BONHEUR, Francois Avuaustz, painter, was 
born at Bordeaux in 1824, and was his father’s 
pupil. He was the brother of Mlle. Rosa Bonheur. 
His first picture exhibited at the Salon was 
‘Children and Cockchafer, in 1845. He afterwards 
painted portraits, but was best known by his land- 
scapes with cattle. He died of heart disease in a 
railway carriage in Paris, February 21, 1884. 

BONHEUR, Rosauingz, was born at Bordeaux 
in 1822, and died in Paris in July 1899. Her 
father was Drawing-master and Director at the 
Free School of Design for Girls in Paris, but 
Rosaline was not intended for the same profession, 
and was to have been a dressmaker. Despite all 
her wonderful success in her father’s school and 
other places of education, where she carried off 
all the drawing prizes and failed hopelessly in 
every other branch of learning, she was bound 
to the business which her parents had selected 
for her, and which they were determined she 
should adopt. Her misery, however, was so pro- 
found that her father relented, took her away 
from business, undertook her training himself, and 
allowed her to sketch and paint to her heart’s 
delight. ‘Goats and Sheep’ was exhibited at the 
Salon when she was eighteen, and ‘Cows in 
Pasture’ in the following year, while in 1845 she 
had no less than fourteen pictures at the Salon, 
and was awarded one of its medals. Thisdid not, 
however, satisfy her, and she aimed at the highest 
prize, gaining it in the form of a special first-class 
medal three years afterwards, when she was but 
twenty-five. Soon after that her father died, and 
so great was her genius that almost without effort 
she stepped into his vacant position, one which 
had never before been held by a woman. ‘The 
Horse Fair,’ her greatest picture, was exhibited 
in 1853. It created a great sensation, wer eo 


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A BIOGRAPHICAL DICTIONARY OF 2 


at a very high figure, and eventually found its| Verona. There still exists much confusion as to “a 


way to America at a price exceeding twelve thou- 
sand pounds, and is still in New York. A small 
‘replica of it by her own hands is in the National 
Gallery. From the time of painting this picture 
Rosa adopted male attire and ever afterwards 
appeared in it, save on one occasion when she 
went to greet her Empress and to receive the 
Cross of the Legion of Honour. Other notable 
_ works which she executed were ‘ Haymaking in 
the Auvergne, ‘A Stampede,’ ‘Scottish Raid,’ 
‘Ploughing in the Nivernais,’ ‘ Horses and Cattle,’ 
‘Horses at Water,’ ‘Horses for Sale. The bulk 
of her pictures contained representations of horses, 
and were marked by much vigour, movement and 
dramatic effect. Her drawing was remarkably 
accurate and her colouring very truthful, She 
was a successful artist, and was enabled to pur- 
chase a country home at Fontainebleau, where she 
carried out most of her later work. She was a 
woman of striking appearance, having a very large 
head covered with shaggy white hair which she 
brushed up high and which gave her a sort of 
lion-like appearance, but she was a person of strong 
affection and a very vivacious companion. Many 
of her best works can be seen in the Luxembourg 
and also in a special gallery of her works which 
was founded after her decease in Paris. 4, (¢, W. 

BONI, Giacomo, was born at Bologna in 1688, 
and was a scholar of Mare Antonio Franceschini, 
whom he greatly aided in his works, particularly 
at Rome. He is also said to have studied under 
Carlo Cignani, whose style is discernible in many 
of his works, such as the ceiling of Santa Maria 
della Costa at San Remo, and in that of San Pietro 
Celestini at Bologna. He excelled particularly in 
fresco, and painted a saloon in the Palazzo Pallavi- 
cino, which was much admired, and a fine picture 
of ‘The infant Jupiter.’ He died in 1766. 

BONI, MIcHELE GIovANNI, known as GIAMBONO, 
(sometimes ZAMBONO,) was a pupil and contem- 
porary of Jacobello, and was both a painter and 
a mosaicist. He was born at Venice about the 
beginning of the fifteenth century. At the Academy 
of that city is a ‘ Redeemer between St. Bernardino 
and other Saints,’ painted soon after the canon- 
ization of that saint, which occurred about 1470. 
Count Riva of Padua possesses a ‘ Virgin and Child’ 
by this artist. He also executed in the Cappella 
de’ Mascoli in St. Mark’s, Venice, mosaics repre- 
senting scenes from Life of the Virgin. 

BONIFACCIO, Francesco, was born at Viterbo 
in 1637, and was a scholar of Pietro da Cortona at 
the time that Ciro Ferri and Romanelli studied 
under that master. He was a respectable painter 
of historical subjects, which he treated in the man- 
ner of his instructor, and painted several pictures 
for the public edifices of his native city. In the 
Palazzo Braschi is. a picture by this master of 
‘The Adulteress before Christ.’ 

BONIFACCIO, Narauis, (or BoNiFrazio,) an 
Italian engraver who flourished about the year 
1590. His plates are principally etchings, which 
are executed in a free, spirited style. His most 
considerable works were the plates he engraved for 
a book published at Rome in 1590, composed by D. 
Fontana, architect to Pope Sixtus V., concerning 
the removal of the Vatican obelisks. He has in- 
scribed his name on these plates, Vatalis Bonifacius 
Sibenicensis fec. 

BONIFAZIO (or Boniracio) is a name borne 
by three artists, who all came originally from 


166 


the authorship of the various works attributed to 
them. The following notices show those pictures 
which are generally given to each painter. 
BoniFazio_ L., 
VERONESE, was a follower, if not a pupil, of 
Palma Vecchio. He was also much influenced by 
Giorgione and Titian, and several of his best 
works, which are remarkable for a Titian-like ~ 
beauty of colouring, have passed under the names 
of those masters. Bonifazio I., the most important 
member of the family, died in 1540. His works 
are seen in most Italian Galleries, and in those 
of Vienna, Dresden, St. Petersburg, ‘and Paris. 
The following are his principal productions :— 


Florence. Pitti Pal. Repose in Egypt (also ascribed to 
: Paris Bordone). ¥ 
re tes Finding of Moses (formerly attri- 
buted to Giorgione). — 
London. Wat. Gall. SantaConverzatione. _ 
Milan. Brera. Finding of Moses (formerly given 
to Guorgione). ie 
Modena. Gall. The four Virtues. . 
Rome. Colonna Pal. Holy Family (formerly called a 
Titian). 
Venice. Acad. Massacre of the Innocents. 
~ 95 Dives and Lazarus, 
as “A Judgment of Solomon. 
s S&. Stefano. Madonna and Child (?). 


» Lal. Giovanellt. Holy Conversation. 

Bonrrazio II., commonly called BOoNniFrazio 
VENEZIANO, died in Venice in 1553, aged sixty-two. 
He probably studied under Bonifazio I. The 
following pictures are attributed to him:— _ 
Berlin. Gail. ‘Woman taken in Adultery. mpxit. - 
Rome. Borghese Pal. Christ in the House of Zebedee. 

2 > Return of the Prodigal Son. 

BonrFrazio III., who painted at Venice from ~ 
about 1555 to 1579, is supposed to be the author 
of the following paintings :— 


Venice. Gall. The Queen of Sheba before Solo- 
mon. 5. “5H 
» 9 Adoration of the Kings. 1558. 


» m Several Figures of Saints. 


BONIFAZIO pa VALDARNO. See BEemso. 
BONINGTON, RicHARD PARKES, was born at 
the village of Arnold near to Nottingham, on 
October 25, 1801. His father, who was for a time 
Governor of Nottingham Gaol, but lost his appoint- 
ment through irregularities, became afterwards 
a portrait painter and went to Paris. Young 
Bonington, then fifteen, was. permitted to study 
in the Louvre, and enter as-a student at the Ecole 
des Beaux Arts: he was also an occasional pupil 
of Baron de Gros, and thus belongs by training more 
to the French than to the British School. Gros’ 
studio was in his time the favourite meeting-place 
of all the younger men of revolutionary tendencies, 
but although Bonington absorbed many of their 
ideas, he was able to keep away from their ex- 
travagances by reason of his repeated journeys 
to London, where he never lost an opportunity 
of studying the work of Constable. 
his first landscapes in Normandy and Picardy, but 
in 1822 paid a long visit to Italy, sojourning 
especially in Venice, and filling his portfolios with 
sea pieces and historical scenes. He then returned 
to England, where he was but little known, and 
his early exhibited works shown at the British 
Institution excited much amazement, as they were 
so French in their technique and yet so redolent 
of English feeling. He had breught back with 
him from Venice the seeds of consumption, caught, 


commonly called Bontrazio 


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R. P. BONINGTON 


| [ Louvre, Paris 


THE OLD GOVERNESS 


it is said, in long evenings’ exposure on the canals 
of that fascinating city. Then in Paris, while 
_ 8sketching in the sun, he received a sunstroke 
_ which brought on first of all somnambulism and 
then brain fever, From the former he never 
entirely recovered, and the consumption making 
rapid progress laid him aside completely, and he 
died in London on September 23, 1828, before he 
had completed his twenty-seventh year. Eugene 
_ Delacroix was his great friend and comrade, and 
the eminent artist has thus described him :—“ I 
knew Bonington well and loved him much, His 
English composure, which nothing could disturb, 
robbed him of some of the qualities which make 
life pleasant. As alad he developed an astonishing 
dexterity in the use of water-colours, which were 
in 1817 an English novelty. Other artists were 
perhaps more powerful or more accurate than 
Bonington, but no one in the modern school, 
perhaps no earlier artist, possessed the ease of 
execution which makes his works, in a certain 
sense, diamonds, by which the eye is pleased and 
fascinated, quite independently of the subject and 
the particular representation of nature. The same 
is true of the costume pictures which he afterwards 
painted. Even here I could never grow weary 
of marvelling at his sense of effort and his great 
ease of execution. Not that he was quickly satis- 
fied ; on the contrary, he often began over again 
perfectly finished pieces which seemed wonderful 
to us. His dexterity was, however, so great that 
in a moment he produced with his brush new 
effects which were as charming as the first and 
more truthful.” The career of Bonington is a 
very sad instance of genius cut off in its bloom. 
He was at once, as Muther says, “the most natural 
and the most delicate in that Romantic school in 
which he was one of the first to make an appear- 
ance. He had a fine eye for the charm of Nature, 
Saw grace and beauty in her everywhere, and 
represented the spring and the sunshine in bright 
clear tones. No Frenchman before him had so 
painted the play of light on gleaming costumes 
and succulent meadow greens.” His spirited im- 
pressionist works, full of careful observation, are 
the direct result of his study of Constable, and it 
was largely to his influence and to the ability 
which he had to carry the Constable quality over 
to France, that the men of the Barbizon school, 
whose forerunner he was, were able to acquire 
that influence of Constable which is so marked 
in their works and which they brought down to 
the present day. Bonington is the link of union 
between the men of classic fame in England and 
the Barbizon school, with all its developments 
on the landscape art of France. At the British 
Institution he exhibited in 1826 two ‘Views on 
the French Coast,’ and also the ‘Column of St. 
Mark’s, Venice,’ now in the National Gallery. To 
the Royal Academy he sent four pictures, ‘ Henry 
III. of France’ and ‘The Grand Canal, Venice,’ 
both painted in 1828, and two ‘Coast Scenes.’ 
Two of his best known works are ‘ Henri IV. and 
the Spanish Ambassador’ (which was sold in the 
San Donato collection in 1870 for £3320, and is 
~now in the Wallace Gallery), and ‘ Francis I. and 
the Duchesse d’Etampes,’ now in the Louvre. 
There are three of his water-coloursin the Museum 
at Kensington, but in no gallery can his work be 
so well studied as at Hertford House, where there 
are no less than thirty-four of his paintings ; ten 
being in oil and the remainder in water-colour. 


PAINTERS AND ENGRAVERS. 


Amongst those in oil, in addition to those just 
mentioned, are ‘Francis I. and Marguerite of 
Navarre,’ representing the scene where the King 
has just written on the window-pane the famous 
verse, ‘Souvent femme varie, Bien fol qui s’y fie,’ 
‘Anne Page and Slender,’ ‘The Seine near Rouen,’ 
‘A Rustic Scene,’ and ‘The Piazza San Marco, 
Venice.’ In water-colours there are many scenes 
from Venice, Bologna, Milan, Rouen, and various 
places in France, also some Oriental scenes and 
some charming historical episodes, as ‘The Earl 
of Surrey with the fair Geraldine,’ ‘ Death of 
Leonardo da Vinci,’ etc. G. 0. W. 

BONINI, Grrotamo, called L’ANconiTana, was, 
according to Padre Orlandi, a native of Ancona, 
and flourished about the year 1660. He was a 
favourite scholar and imitator of Francesco Albani, 
and assisted that master in many of his principal 
works, particularly in the Sala Farnese, and in the 
palaces at Bologna. A ‘Christ adored by Saints’ 
by him is in the Louvre. He died about 1680. 

BONINSEGNA, Duccio pi. See BUoNINSEGNA. 

BONIS, Fiorrano. See Buont. 

BONISOLI, Agostino, was born at Cremona in 
1633, and was first a scholar of Battista Tortiroli, 
and afterwards studied a short time under Miradoro 
Agostino Bonisoli, a relation, an artist of little 
note. He was indebted to his natural genius and 
his study of the works of Paolo Veronese more 
than to either of his instructors. He was more 
employed in easel pictures of sacred subjects than 
for the churches. The only large work by him 
that is recorded is a picture in the Conventuali at 
Cremona, representing the dispute between St. 
Anthony and the tyrant Ezzelino. He died in 
1700. 

BONITO, Grusreprz, was born at Castellamare, 
in the kingdom of Naples, in 1705. He was a 
scholar of Francesco Solimena, and one of the 
most successful followers of his style. He ac- 
quired considerable celebrity as a painter of history, 
and was much employed as a portrait painter. He 
was appointed painter to the Court of Naples, 
where he died in 1789. A Portrait of a Turkish 
Ambassador by him is in the Madrid Gallery. 

BONNAR, WILL14y, a painter of portraits, his- 
tory, and genre, was born at Edinburgh in 1800. 
His father was a house-painter of considerable 
skill, and the son, having from his early years 
evinced a remarkable aptitude for drawing, was 
apprenticed to one of the leading decorators of the _ 
time. When George IV. visited Edinburgh in 
1822, Bonnar assisted David Roberts in decorating 
the assembly rooms for the grand state ball which 
was given in honour of the occasion. Shortly 
afterwards some signboards painted by him at- 
tracted the notice of Captain Basil Hall, who 
sought out and encouraged the young artist. In 
the year 1824 his picture of ‘The Tinkers’ estab- 
lished him as a favourite with the public, and 
shortly after the formation of the Royal Scottish 
Academy (in 1830) he was elected one of the 
members. Bonnar died at Edinburgh in 1853. 
He left behind him many fine pictures, several of 
which have been engraved. In the Edinburgh 
Gallery there are his own Portrait and a Portrait 
of G. M. Kemp, the Architect of the Scott Monu- 
ment, Edinburgh. : 

BONNART, Henri, a French painter and en- 
graver, was the brother of Robert, Jean Baptiste, 
and Nicolas Bonnart. He was born in Paris in 
1642, became rector of the Academy of ae 


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A BIOGRAPHICAL DICTIONARY OF 


and died in Paris in 1711. Le Blanc attributes to 
him 201 plates, of which 20 are religious subjects, 
46 portraits, and 135 costume prints. His son, 
JeAN Baprriste HENRI Bonnart, followed his 
father’s profession, and died in 1726, aged about 
48 years. In Perrault’s ‘Cabinet des Beaux-Arts,’ 
published in Paris in 1690, there is a plate of a ceil- 
ing ornamented with figures, which is probably by 
him ; it is etched in a free, masterly style, finished 
with the graver, and marked Jean Bonnart, Junior, 
del. et sculp. 

BONNART, JEAN BAPTISTE, painter and en- 
graver to the king, was born in Paris in 1654, and 
was still living in 1752. Le Blanc assigns to him 
34 subjects, of which one is ‘ Jesus Christ on the 
Mount of Olives” 9 portraits, and 24 costume 

ieces. 

BONNART, Nicotas, who was an engraver, 
was the eldest brother of Henri, Robert, and Jean 
Baptiste Bonnart, and was born about 1636. Le 
Blanc attributes to him 379 plates, of which 15 are 
scriptural subjects, some of them after the works 
of his brother Robert, 27 mythological, 32 historical, 
24 portraits, and 208 plates of costumes, manners, 
&c. He died in 1718, aged 81 years. His son, 
NicoLas BoNNART, an engraver, died in 1762, at 
the age of about 74 years. 

BONNART, Ropert, who was likewise an en- 
graver, was born in Paris in 1652. He was godson 
of Robert Nanteuil, and a pupil of Van der Meulen, 
after whom he engraved several plates. He was 
appointed painter and engraver to the king, and 
subsequently assistant-professor at the Academy of 
St. Luke. He died after 1729, and has been often 
confounded with his son, RoBERT FRANCOIS Bon- 
NART, who was professor at the Academy of St. 
Luke, and was still living in 1759. Le Blanc men- 
tions only nine plates by him, among which are: 

Portrait of Louis XIV. 

- Portrait of the Dauphin Louis. 
The Taking of Valenciennes in 1677; after Van der 
Meulen. 

The Taking of Cambrai in 1677; after the same. 

The Siege of Douai; after the same. 

The Entrance of the Queen into Arras, two sheets ; 

after the same. 


BONNCIONH, E.,was an engraver who flourished 
about the year 1670, and whose name is affixed to 
a small plate, representing Diana in a chariot 
drawn by Dragons, with a Cupid behind her, after 
F. Bol. It is slightly etched in a poor, dark style. 

BONNEAU, JAcos, the son of a French engraver, 
exhibited landscapes painted in water-colours, both 
at the Incorporated Society of Artists and at the 
Academy, from 1765 to 1784. He was well known 
as a drawing master, and was largely employed by 
the booksellers, for whom, among other plates, he 
engraved the heads prefixed to the ‘ History of the 
American Buccaneers,’ published in London in 
1741. He died at Kentish Town in 1786. 

BONNEFOND, JEAN CLAUDE, who was born at 
Lyons in 1796, studied under Révoil, and became 
successful in representing scenes from peasant life. 

_ About 1826 he went to Rome, and became influenced 
by the style of Robert and Schnetz, and painted 
sacred as well as genre subjects. In 1831 he be- 
came director of the Art School at Lyons, and in 
1837 a member of the Academy. He died in that 
city in 1860. In the Museum of Lyons there are 
by him— 

The Bed-chamber. 1824. 

A 4 eee. tired with travelling, succoured by monks. 

168 


The Ceremony of the Holy Water, on the day of Epiph- 
any, at the church of the Greek-Catholics at Rome. 
1831. | 


Portrait of Jacquard. 1834. (Commissioned by the town 
of Lyons.) 


A Greek officer wounded.. Rome. 1826. 
A Roman goatherd deploring the loss of his goat. 1836. 


BONNEMAISON, Fériox, was a French portrait 
painter and lithographer, who was distinguished 
by the skill with which he restored many of the — 
pictures taken to Paris under the first empire. He 
was educated in the school of Montpellier, and died © 
in Paris in 1827. The Chevalier Bonnemaison — 
published in 1818 a ‘Suite d’Etudes calquées et 
dessinées d’aprés cing tableaux de Raphael,’ and 
in 1822 aseries of lithographs from paintings of 
the modern French school in the gallery of the 
Duchess de Berry. ao 

BONNEMER, Frangois, was a French painter — 
and engraver who was born at Falaise in 1637. He 
worked with Monier, the younger Corneille, and 
the younger Vouet on the ceiling of the gallery of 
the King’s Audience Chamber at the Tuileries, and 
was commissioned by the king to copy some works 
of Carracci in the Farnese Gallery at Rome. He 
engraved several plates after Le Brun, and was 
the master of Ménageot. He died in Paris in 1689. 

BONNER, GeEor@e WILLIAM, one of the earliest 
English wood-engravers, was born at Devizes in © 
1796. He was celebrated for his revival of the 
art of printing tints by means of a combination 
of blocks. He died in 1836. 

BONNER, Tuomas, was born in Gloucestershire 
in the first half of the 18th century. He was 
celebrated as one of the best of the topographical 
draughtsman and engravers of his day. He illus- 
trated Collinson’s ‘ History of Somersetshire ’ 
(1791), Polwhele’s ‘ Devonshire’ (1797), a 
‘Perspective Itinerary,’ and many other works. 
It is believed that he died soon after 1807. 

BONNET, Louis Marin, a French engraver in 
aquatint and in chalk, was born in Paris in 1743. 
He resided for some time at St. Petersburg, where 
he engraved some portraits of persons of the 
Russian Court. On his return to Paris he published 
several plates, executed in imitation of drawings 
in crayons, of which style he pretended to be the 
inventor. They are chiefly after Boucher, and 
other modern French masters. Bonnet died about 
the year 1793. 

BONO FERRARESE. See FERRARA, BONO DA. 

BONOMI, Josrpu, the elder of the name, was 
born at Rome in 1739, and went to London in 
1767 to decorate buildings for the brothers Adam. 
In 1775 he married a cousin of Angelica Kauff- 
mann. In 1789 he was elected an Associate of 
the Royal Academy, and from that time constantly 
exhibited architectural drawings. In 1804 he was 
appointed architect of St. Peter’s at Rome. He 
died in London in 1808. 

BONOMI, Josrru, the son of the architect, was 
born in London in 1796. He passed many years 
in Egypt, and became distinguished for his great 
knowledge of hieroglyphics. He assisted Owen 
Jones in the decoration of the Egyptian Court 
at the Crystal Palace, and published ‘ Nineveh 
and its Palaces,’ and works on Egypt, Nubia, and 
Ethiopia, illustrated with his own drawings. In 
1861 he was made curator of the Soane Museum. 
He died at Wimbledon in 1878. 

BONONI, Bartotommgo, is the author of a 
‘Virgin in Glory,’ in the Louvre, that is signed 


di stir guished school of Titian, under whom he 
Cy studied for some time. After this he became a 
_ pupil of Giorgione, whom he imitated with much 
_ success. Subsequently, however, he devoted him- 
_ self entirely to the study of Titian, and became a 
faithful imitator of that great master, so that his 
_ works have often been confused with the originals. 
_ He also excelled in portrait painting, and his 
pictures of that description are not inferior to 
those of any artist of his country, Titian only 
excepted. His first productions were executed in 
_ Treviso, Vicenza, and Venice, and were the objects 
_ of universal admiration. His most important work 
_ was the dome of the church of San Vicenzo at 
__ Treviso, in which he has represented, in six com- 
_ partments, ‘The Annunciation,’ ‘The Nativity,’ 
_ ‘The Adoration of the Magi, ‘The Crucifixion,’ 
‘The Ascension,’ and ‘The Assumption of the 
_ Virgin.’ In 1538 he was invited to France by 
_ Francis I., and he there painted the portraits of 
_ that monarch and the principal personages of his 
_ Court. He was knighted by Francis II. From 
" Paris he returned to Venice by way of Augsburg 
_ and Milan, at the former of which he painted in 
_ the Fugger Palace, and at the latter in the chapel 
_ of St. Jerome. He died at Venice in 1571. The 
_ following are some of his best works : 


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f - 9areme eres A man in black. 
aa . Madonna and Saints (two: os. 


| ee 177 and 191). 
_ Dresden. Gallery. Holy Family, with St. Jerome and 
|. eens St. Elizabeth. 

London. Wat. Gail. Daphnis and Chloe. 
Portrait of a Genoese Lady (signed 
; Paris B O). 
Lovere. Tadini Coll. Madonna and two Saints. 


33 ”? 


| Milan. Brera. Baptism of Christ. 

' Munich. Gallery. Portrait of a man. 

h _ = Man counting jewels. 

' Padua. Gallery. Christ taking leave of His mother. 

| Paris. Louvre. Portrait of a man (signed Paris 


es ; B. F., and dated MDX XXX). 

'~ Rome. Colonna Pal. Holy Family. 

i » Doria Pal. Mars and Venus. 

_ Venice. Academy. The Fishermen presenting the ring 

be of St. Mark to the Doge (hs 
masterpiece). 

A young Lady at her toilet. 

Venus and Adonis in an arbour, 

And five others. 


Vienna. Gal lery. 


” ” 


BOREKENS. See BorrEKEns. 

BORESUM. See Borssum. 

BORGANI, Francesco, was a native of Mantua 
who flourished about the middle of the 17th cen- 

He was a scholar of Domenico Feti. He 

did not, however, follow the style of his instructor, 
but imitated, with some success, the graceful man- 
ner of Parmigiano. There are several of his works 
in the churches of San Pietro, San Simone, and 
| Santa Croce, at Mantua, which prove him to have 

been an artist of no mean ability, and, according to 

Lanzi, are deserving of more admiration than is 
| generally bestowed on them. 
|  BORGHEGGIANO. See AtBertt, CHERUBINO. 

BORGHESE, Ritter. See Gurporro. 

BORGHESE, Giovanni VENTURA, was a native 
of Citta di Castello, and a scholar of Pietro da Cor- 
tona. He assisted that master in some of his most 
considerable works at Rome, and after the death 
of his instructor was engaged to finish some of 
his paintings left imperfect. In the church of 
| San Niccold da Tolentino there are two pictures 
by this painter, representing ‘The Annunciation,’ 


eH 


PAINTERS AND ENGRAVERS, 


and ‘The Virgin Mary crowned by Angels.’ His 
best works are considered to be four paintings in 
the church of Citta di Castello, representing scenes 
in the life of St. Catharine. He died in 1708. 
BORGHESE, Pierro. See Der FRancEscut. 
BORGHESI, Ipporiro, a native of Naples, and 
a scholar of Francesco Curia, flourished about the 
year 1550, He painted historical subjects with 
some skill, and also successfully imitated Raphael 
and Andrea del Sarto, His most considerable 
work is an altar-piece, representing the ‘ Assump- 
tion of the Virgin,’ in the chapel of Monte di Pieta 
at Naples. 
BORGIANI, Orazio, a painter and engraver, 
was born at Rome in 1577(?). He was instructed 
in the art of painting by his brother, Giulio Borgi- 
ani, called Scalzo; but was more assisted in his 
progress by assiduously studying and copying the 
works of the great masters in his native city. The 
penpuses bestowed on the arts by Philip II. of 
pain induced him to visit that country, where he 
passed some years, and met with considerable suc- 
cess, his works being held in great estimation. On 
his return to Rome he was patronized by the 
Spanish ambassador, for whom he painted several 
pictures, and he was also employed in painting for 
the churches. The date of his death is unknown. 
He painted as late as 1630. In the Uffizi is his 
portrait by himself. As an engraver he has left 
some plates etched in a bold, free manner, and 


more finished than is usual in the works of a 


painter. He usually marked his plates with a 
cipher composed of an Handa B sry 


thus: ES, 


We have by him: 


The Resurrection, a composition of many figures ; marked 
with the last of the above ciphers. 

The dead Christ, in a foreshortened position, with the 
two Marys and St. John; dated 1615. 

St. Christopher giving his hand to the Infant Jesus. 

St. Christopher carrying the Infant on his Shoulder. 

Fifty-two Bible histories, called Raphael’s Bible; dated 
1615. 


BORGO SAN SEPOLCRO, RarrakELLINoO DAL. 
See Dau CoLte. 

BORGOGNONE. See CovrTois. 

BORGOGNONE, Amprogio. See STEFANI DA 
Fossano, AMBROGIO. 

BORGOGNONE Datte TEsrTE, IL. 
NETTI GONZALEZ. 

BORGOMAINERIO, Luter, who was born at 
Como in 1836, was one of the cleverest caricatur- 
ists in the ‘ Spirito Folletto,’ and the founder of the 
‘Mefistofele.’ Subsequently he went to Brazil to 
engage in similar work for a comic paper, but died 
at Rio Janeiro in 1876, soon after his arrival. 

BORGONA, JUAN DE, a painter of Toledo, was a 
distinguished artist of his time, both in fresco and 
oil, and produced several works in his own city, 
which were held in great estimation. He worked 
in conjunction with Alvar Perez de Villoldo, Alonso 
Sanchez, Francois d’Anvers, and other eminent 
painters. At Alcal4 de Henares he painted in 
1493 the theatre of the university, and was em- 
ployed from 1508 to 1511 in the cathedral at To- 
ledo, where he painted first the altar of the Arabian 
Chapel, and afterwards a picture of ‘The Conquest 
of Oran.’ At Avila he finished the pictures com- 
menced by Pedro Berruguete and Santos Cruz. He 
also painted portraits of several cardinals. His 
colouring and mode of casting his draperies were 
considered equal to the best masters of the ter 


See GIACCHI- 


A BIOGRAPHICAL DICTIONARY OF 


and German scnools of the time. He died at 
Toledo in 1533. 

~ BORLUYT, GuILuiavME, who was a burgher of 
the city of Ghent in 1557, designed a series of 
plates, illustrating Ovid, which were engraved by 
the Little Bernard (Bernard Salomon). 

BORRAS, Francisco Nico.as, a Spanish historical 
painter, was born at Cocentayna in 1530, and 
studied under Vincento Joanes at Valencia. He 
painted the great altar-piece of the monastery 
of St. Jerome at Ghent, and required for pay- 
ment to be admitted as one of the order, which was 
gladly conceded to him. He painted an astonish- 
ing number of pictures for this immense establish- 
ment, devoting the greater part of his life to the 
purpose of decorating it. Some of his pictures 
were also at Cocentayna, at Ontiniente, at the 
Escorial, at Aldaya, and Valencia. He led an ex- 
emplary life, and died at the age of 80. A cata- 
logue of his principal works may be seen in Cean 
Bermudez. . 

BORREKENS, Jan Pieter Frans, (or BOREKENS, ) 
who was born at Antwerp in 1747, painted land- 
scapes, many of which are ornamented with cattle 
and figures by Ommeganck and other masters. 
He died at Antwerp in 1827. 

BORREKENS, Marruys, a Flemish engraver, 
was born at Antwerp about the year 1615. He 
was chiefly employed in copying the plates of the 
eminent engravers, particularly Bolswert, and some 
others, for Martin van den Enden, and other print- 
sellers. He worked entirely with the graver, and 
appears to have imitated, though without much 
success, the style of Pontius. We have also some 
original plates by him of portraits and other sub- 
jects. His principal prints are as follow: 


Christ bound, and kneeling, with two Angels holding 
the instruments of the Passion ; 

The Good Shepherd ; after Diepenbeeck. 

Augustus Carpzon, Plenipotentiary of the Duke of 
Saxony at the treaty of Osnaburg ; 

Gerard Schepeler, another Plenipotentiary at that 
treaty ; after Ans. van Halle. 1649. 

The Immaculate Conception ; 

St. Francis Xavier, on a white ground ; 

St. Ignatius ; Rubens pinx.; M. van den Enden exc. 

St. Barbara, with a Tower on her Head; Rubens pinz.; 
Mat. Boreckens sc. ; scarce. 

The Crucifixion, with the Virgin Mary, Magdalene, and 
St. John; Ant. van Dyck pinz.; Eras. Quellinus del. 


BORRONIT, Cavaliere GiovANNI ANGELO, was 
born at Cremona in 1684, and was a scholar of 
Angelo Massarotti, and afterwards of Robert Le 
Longe. On leaving those masters he was taken 
under the protection of the noble family of Crivelli, 
and was employed some years in ornamenting their 
palace. He afterwards painted several pictures 
for the churches at Cremona and Milan, particularly 
in the latter city. In the cathedral at Milan he 
painted St. Benedict in the act of interceding for 
the city. In the Pinacoteca of that city is a 
portrait of a man by him. He died at Milan in 
1772. 

BORSATO, GiusEpPE, who was born at Venice 
in 1771, painted interiors of churches—sometimes 
in the manner of Canaletto. In the Belvedere, 
Vienna, there is an ‘ Interior of St. Mark’s, Venice,’ 
by him. He died in his native city in 1849, 

BORSSOM, ABRAHAM VAN, (Borssum, Borssem 
or BorrsvM,) painted landscapes, views of cities, 
animals, and birds. He is supposed to be the son 
of a painter, Antoon van. Borssom. Little is 

172 


PA, Ey AR ae ST ORO See Ear cen Gs I De Nes 
T LAOTANN Cc oR OTe OP eR one 
ras i Biss ETS AR AR SY NU yO a ea 

i \ cas mt AN Rs 


i 4 
. a, 


he: ; yet 


known of his life: he was born in Hoellandin 


the second half of the 17th century, and studied 
under Rembrandt towards the close of that artist’s 
career. A painting of ‘Cattle in a Pool’ in the 
Dulwich Gallery is said to be by him, and a picture 
of still-life in the Hermitage, St. Petersburg, is also 
attributed to him. His colouring and chiaroscuro 
bear a resemblance to Rembrandt's. His drawings 
are fine, and highly estimated in Holland, 
BORSSUM, Apam van, lived in 1666. He 
painted landscapes and animals, and imitated A. 
van der Meer and Paul Potter. His colouring is 
natural, and his pencilling firm, yet free and 
spirited, 
BORUM, AnpREAS, who was born at Hamburg 
in 1799, studied painting in the Academy at 
Munich, and then devoted himself to lithography, 
in which he was very successful, He died at Munich 
in 1853. The following are his principal plates : 
The Coliseum; after Rottmann. Milan Cathedral ; 
after Miglhiara. Sea piece; after Adriaan van de 
Velde. Views on the Rhine, 


BORZONE, Luctano, was born at Genoa in 1590, 
and was a scholar of Filippo Bertolotto, his uncle, 
and of C. Corte. 
but particularly excelled in the latter. In the 
church of San Domenico at Genoa is a picture by 
Borzone of ‘The Presentation in the Temple,’ and 
in Santo Spirito ‘The Baptism of Christ.” While 
he was painting the ceiling of the Chiesa della 


Nunziata at Genoa he fell from the scaffolding, and 


was killed, in the year 1645. He etched some 


plates : 


Portrait of Giustiniani. St. Peter delivered from 
Prison. Prometheus devoured by the Vulture, 
Children playing. A set of devout subjects. 


Luciano Borzone had three sons: GIoVANNI BAT- 
TISTA, who died in 1656, and CarLo, who died in 
1657, completed several paintings begun by their 
father; MARIA FRancesco, the third son, excelled 
in painting landscapes and sea-pieces in the style 
of Claude Lorrain and Gaspard Poussin, and came 


to be employed at the court of Louis XIV. He 


was born in 1625, and died in 1679. 
BOS, BALTHAZAR, a Flemish engraver, flourished 


about the year 1520. He engraved a middle-sized — 


plate, lengthways, representing ‘The Judgment of 
Paris,’ which is probably from his own design, as 
he adds the word fecié to his name. : 

BOS, Corneuis. See Boscu, 

BOS, GaspaR See VAN DEN Bos. 

BOS, JERom. See AEKEN, HIERONYMUS VAN. 

BOS, LopewiJk, was born at Bois-le-Duc about 
the year 1450. He painted flowers, fruit, and 
plants, which he finished im an extraordinarily 
polished manner. The insects on the plants are 
curiously drawn, and painted with surprising pre- 
cision. He also painted small portraits in the same 
laboured style. He died in 1507. 

BOS, Marigz R. pu. See Du Bos. 


BOSBOOM, Jonanngs, Dutch painter, born at the |. 


Hague on the 18th of February, 1817. He studied 
in the studio of B. J. Van Brée, and became well 
known for his town views and church interiors. 
One must especially mention his ‘Tomb of the 
Count of Nassau at Breda’ and ‘The great Pro- 
testant Church at Amsterdam,’ belonging to the 
King of Bavaria. He gained a third-class medal 
at the Universal Exhibition at Paris in 1855, and 
also exhibited in those of 1867, 1878, and 1889, 
obtaining, amongst others, a silver medal. 


He painted history and portraits, — 


He 


1 ait 
| Was created Chevalier of the Orders of the Lion 
of the Netherlands and of Leopold of Belgium, 


| dying on the 14th of September, 1891. 
BOSC, Du. See Du Bosc. 

__ BOSCH, B. van pen. See Van DEN Bosscur, 
_ BOSCH, Corneuis, (Bos, or Bus,) a Dutch 
_ engraver, was born at Bois-le-Duc about the year 
| 1510. He went to Italy when young, and spent 
_ the greatest part of his life at Rome, where he 
| died, His style of engraving resembles that of 
_ Marco da Ravenna and Eneas Vicus, but exhibits 
_ inferiority. He was more successful in copying 
| the works of Raphael and Giulio Romano.. His 
_ plates are executed with 

| the graver,in adry formal 


| style. He usually marked 
_ them with one of these eB a: 
ciphers: 


x 


___ The following are his best works: 


The Last Judgment; with his cipher. 1530. 
— Lot and his Daughters. 1550. 
David and Uriah. 1546. 
Jesus preaching to the Jews; inscribed Beati qui, &. 

_ Venus in her Car. 1546. 
___-Venus and Oupid coming to Vulcan. 1546. 
_ Combat of the Centaurs and the Lapithe; in two 
| | sheets. 1550. 
Death seizing a Monk. 

The Equestrian Statue of Marcus Aurelius. 
___ A set of sixteen of Trophies, Arms, and Grotesques; 
_ Rome. 1550 to 1553. 
beh eng the Tables of the Law; after Raphael. 


Moses presenting the Law to the People; after the same. 


a The Triumph of Bacchus; after Giulio Romano ; in two 
sheets. 1543. 
The Entombing of Christ; after Frans Floris. 1554. 


The Battle of the Giants. 
1545, 


The Descent from the Cross. 

BOSCH, Extas, was a German engraver, whose 
+ works are little known, though they are not desti- 
| tute of merit. His plates are executed entirely 
| with the graver, in a neat, finished style. His 
_ mame is affixed to a small print representing 
©The Holy Family, with Angels,’ after Johann 
_von Aachen. 

BOSCH, Jac. VAN DEN. See VAN DEN Boscu. 

BOSCH, Jerom. See ArEKEN, HIERONYMUS VAN. 

BOSCHAERT, Niconas, was born at Antwerp 
in 1696, and was a scholar of Crepu, a flower painter 
of some reputation, whom he soon surpassed, and 
became a very eminent artist in that line. His 
pictures of flowers and fruit are painted with great 
lightness of touch, are delicately coloured, and are 
disposed with taste. He was frequently employed 
in painting flowers and fruit in the pictures of 
contemporary artists. 

BOSCHER, Purtip vay, flourished in the seven- 
teenth century ; no details of his life are recorded. 
A picture of a ‘ Widow,’ signed P. V. B. f., in the 
Hermitage, St. Petersburg, is attributed to him. 
| BOSCHI, Fasrizio, was born, according to 

| Baldinucci, at Florence about the year 1570. He 
| 
} 


was a scholar of Domenico Passignani, under 

whom he made so great a progress that at the 

age of nineteen he executed, in fresco, a consider- 
_ able work of the ‘ Life of St. Bonaventure,’ which 
| that author reports to have excited the admiration 
| of the artists of his time. One of his best per- 
formances was ‘The Martyrdom of St. Peter and 
St. Paul,’ painted for the church of the Certosa, 
at Florence. Another capital picture by him is in 
the church of the Dominican convent of St. Lucia, 


‘ire PAINTERS AND ENGRAVERS. 


representing ‘The Assumption of the Virgin, sur- 
rounded with Angels, and the Apostles below.’ 
He died in 1642. 

BOSCHI, Francesco, was born at Florence in 
1619, and was the nephew and scholar of Matteo 
Roselli. He finished some of the works left im- 
perfect at the death of his master, and painted 
several pictures of his own compositions for the 
churches at Florence. His greatest merit, how- 
ever, consisted in portrait painting, which he 
practised with great ability. He died in 1675. 
A ‘St. Matthias’ by him is in the Uffizi at 
Florence. 

BOSCHINI, Marco, was born at Venice in 1613, 
and was educated in the school of Palma. He did 
not confine himself to an imitation of the manner 
of his master, but occasionally attempted the 
bolder style of Tintoretto. One of his most 
esteemed works is an altar-piece, representing 
‘The Last Supper,’ in the sacristy of San Giro- 
lamo, at Venice. He also distinguished himself 
as an engraver, and usually signed his name on 
his plates, Marcus Boschinius. Boschini was also 
a writer on art, and was the author of ‘La Carta 
del Navegar pittoresco,’ published at Venice in 
1660. 

BOSCOLI, ANDREA, was a native of Florence, 
and flourished in 1553. He was a scholar of Santo 
de Titi, and acquired some reputation as a painter 
of history. His best work is a picture of ‘St. 
John preaching,’ in the church of the Teresiani at 
Rimino. He also painted portraits with consider- 
able success; that of himself is in the Florentine 
Gallery. Florent le Comte says he engraved 
nineteen plates, but does not specify them. He 
died about 1606. 

BOSELLI, ANToNIo, was a Bergamese artist, 
who lived in the early part of the 16th century. 
He was a sculptor as well as a painter. His 
earliest known work is a fresco in the church of 
Ponteranica, near Bergamo, which is dated 1495. 
In 1514 he painted the altar-piece at Santa Maria 
Maggiore, Bergamo, representing ‘ Christ in Glory, 
with the Virgin and Saints.’ In the Lochis Car- 
rara Gallery of the same city is a panel with 
St. Lawrence, between SS. John the Baptist and 
Barnabas ; and in the church of San Cristoforo is 
a picture representing ‘St. Peter, St. Paul, and St. 
Luke,’ and bearing the inscription, Hoc opus An- 
tonium scito pinxesse Bosellum, die 23 Februari, 
1509. In the church of the Augustines is another 
of his works representing ‘The Virgin and Infant 
Jesus in the clouds, and several Saints below.’ 
Records prove that he was living as late as 1527, 
and it is believed that he assisted Pomponio 
Amalteo, in Friuli, in the years 1534 to 1536. The 
dates of his birth or death are not known 

BOSELLI, FEticz, was born at Piacenza in 
1650, and was a disciple of Gioseffo Nuvolone. 
For some time he attempted historical painting, in 
which he was not very successful ; but he after- 
wards adopted a branch of the art more suited to 
his genius, and became a very reputable painter of 
animals, birds, and fish. His pictures of these 
subjects are highly esteemed in his native country, 
and are to be found in the best collections at 
Piacenza. He succeeded so well in copying an- 
cient pictures as to deceive experienced judges. 
He died in 1732, aged 82. 

BOSER, Kart Frieprich ADOoLF, who was born 
at Halbau in Prussian Silesia in 1811, studied in 
Dresden, Berlin, and Disseldorf; his eis 


chiefly genre subjects and portraits, were popular. 
He died at Diisseldorf in 1881. | 

BOSHART, WILHELM, who was born at Munich 
in 1815, at first studied for the medical profession ; 
but, abandoning that, he devoted himself in 1844 
to art, studied under E. Schleich, and soon became 
famous for his landscapes. He died in 1878, 

BOSIO, Anronro, a Romish priest, who was a 
Maltese by birth, reopened and explored, towards 
the close of the 16th century, the catacombs of 
Rome. He made accurate engravings of the most 
remarkable paintings and objects which he found 
there, and published them together with explana- 
tory text (see Kugler’s ‘Handbook of Painting,’ 
revised by Lady Eastlake, p. 12. 1874). 

BOSSAERT, THomas WILLEBoRTS. See WILLE- 
BORTS. 

BOSSAM, Jouy, an English painter, lived in the 
reigns of Edward VI., Mary, and Elizabeth. Nicho- 
las Hilliard calls him ‘‘ a most rare English drawer 
of story works in black and white,’’ and says that 
‘¢ for his skill he was worthy to have been serjeant 
painter to any king or emperor.” It is believed 
that he became a minister in the Church. 

BOSSART, RoBert, was a German engraver 
who flourished about the year 1595. He is sup- 
posed to have been a pupil of Hendrik Goltzius, 
from the resemblance in their style, although that 
of Bossart is much inferior. He engraved a set of 
prints, in which the different nations of Europe 
are represented by figures, emblematical of what 
each country was celebrated for. He also engraved 
a portrait of B. Spranger, dated 1595. 

BOSSCHAERT, Tuomas WILLEBoRTS. See WIL- 
LEBORTS. 

BOSSCHE, B. van pen. See VAN DEN BosscHE. 

BOSSE, ABRAHAM, a French engraver, was born 
at Tours in 1602. He was the son of a tailor, and 
went to Paris to gain instruction in art about the 
year 1617, but under whom he studied does not 
appear. Becoming acquainted with the mathema- 
tician Desargues, whose works he afterwards pub- 
lished, he devoted himself to the study of perspective, 
and became professor of that art in the Academy 
of Painting. He was also elected an honorary 
academician, but his vanity and bad temper were 
before long the cause of a quarrel with his col- 
leagues, and of his ultimate expulsion from their 
ranks, From 1648 to 1654 the diplomas had been 
given in the name of M. Martin de Charmois, one 
of the principal founders of the Academy and its 
acknowledged chief, but in the last-named year 
the Academy, deeming this practice to be incon- 
sistent with its dignity and freedom of action, 
resolved that all its diplomas should be returned 
and exchanged for new ones. To this unanimous 
decision of his colleagues Bosse refused to submit, 
unless the phraseology common to all were re- 
placed by certain laudatory words which he had 
contrived to get inserted in the original document. 
Being unwilling to precipitate a quarrel, the 
Academy allowed the matter to rest for nearly 
three years, during which time Bosse not only went 
to its meetings, but circulated against it pamphlets 
overflowing with wit and hatred. At length there 
was no alternative left but to declare Bosse deprived 
of his rank of academician. He left Paris and retired 
to Tours, but before long he returned to the capital, 
where he resided until his death, which took place on 
the 15th of February, 1676. He was buried in the 
Protestant cemetery of Les Saints-Péres. Bosse ap- 
pears to have formed his style upon that of Callot, 

174 


WARY OF 

and his plates, which are etched and then finishe 
with the graver, display much spirit and freed 
They consist mainly of allegorical figures, sce1 : 
civil life, popular types, costumes, frontispieces, — 


~ 


(irs) 
and vignettes. He also practised painting and archi-— 

tecture, and wrote several works on those arts and — 
on perspective, which are described in the “Cata- 
logue des Traitez que le sieur Bosse a mis au jour,” 
1674. The best known of these are the “Traicté — 
des manieres de graver en taille douce sur marr F 
1645, which was republished by Cochin in 1745, 
the “ Traité des maniéres de dessiner les Ordres de — 
Architecture antique,” 1664, and ‘Le Peintre 
converty aux precises et universelles regles de son — 
Art,” 1667, which contains some curious informa- 
tion respecting the disputes which arose between _ 
the author and his colleagues in the Academy of 
Painting. He painted in the manner of Callot,and _ 
his pictures are very rare. The Louvre has no ~ 
example, but there is one, ‘The Foolish Virgins,’ — 
in the Musée de Cluny, and another, ‘An Interior," 
in the Museum of Douai. M. Georges Duplessis 
published in 1859 the “Catalogue de I’Giuvre 
d’Abraham Bosse,” in which are carefully described _ 
1449 works, most of which are from the engraver’s _ 
own designs. Besides these M. Duplessis enumer- _ 
ates 57 pieces executed by Bosse in conjunction ~ 
with other artists. The following are the most — 
important of his works :— ie 


David holding his sling ( fronde), the head of Goliath at 
his feet; beneath are eight verses in praise of the 
Fronde. 1651. 

Judith putting the head of Holofernes in a bag. aa 

The Virgin and Child, with four Angels above; within 
a border; after St. Igny. ; 

The History of Jezebel ; six plates. 

The Parable of the Prodigal Son; six plates. wy 

The Parable of the Rich Man and Iazarus; three plates. 

ane Parable of the Wise and Foolish Virgins; seven 
plates. a 

The Acts of Mercy; seven plates. 

La deroute et confusion des Jansenistes. 

The Senses ; five plates. 

The Ages of Man; four plates. 1636. 

The Seasons ; four plates. 

The Quarters of the World; four plates. 

The Elements ; four plates. 

The Gauls imploring the clemency of Cesar. 

Illustrations to Hozier’s “Noms, Surnoms, Qualitez, 
Armes, et Blasons. des Chévaliers et Officiers de 
VOrdre du 8. Esprit,’ 1634; four plates. 

The Marriage of Ladislaus IV., King of Poland and 
Sweden, and Louisa Maria de Gonzaga, Princess of 
Mantua, at Fontainebleau, 1645, 

Jacques Callot, the engraver. 

Louis XITI., King of France, as Hercules. 

James Howell, the historiographer; full length, the 
head engraved by Mellan. 

Cardinal de Richelieu. 

The Infirmary of the Hépital de la Charité at Paris. 

Le Jardin de la noblesse francoise, 1629; eighteen 
plates ; after St. Igny and Bosse. 

sre frangoise 4 l’Eglise; thirteen plates; after 

t. Lgny. 

Les Gardes frangoises ; nine plates. 

Les Cris de Paris ; twelve plates. 

Les Quatre Jardiniéres ; four plates; after Bellange. 

Le Mariage 4 la ville; six plates. 

Le Mariage a la campagne; three plates. p 

Le Mari qui bat sa femme: La Femme qui bat son 
mari; two plates. g 

The Painter, the Sculptor, the Engraver, and the 
Printer ; four plates. ie 

The Schoolmaster and the Schoolmistress ; two plates. 

The Trades; seven plates. 

Lettre amoureuse du Capitaine Extrauagant 4 sa 
Maistresse: Reponse de la Damoiselle 4 la lettre du 
Capitaine Extrauagant; two plates. 1640. 


1654. 


( s 

= ~. des Roi 

= ~~. des Rois. 
. es 


Aux buueurs tres illustres et haut-crieurs du Roi boit; 
< l eeed small subjects engraved on one plate and 

intended to be cut up and drawn for on the Féte 

R. E. G. 


is 


BOSSI, Benteno, an Italian designer and engraver, 
was born at Porto d’Arcisato, in the Milanese, 
in 1727. He was intended to have studied paint- 


ing under Pompeo Batoni, but the death of that 
artist prevented it, and he was advised by Mengs 
and Dietrich to apply himself to engraving. He 
_ stayed a long time at Nuremberg and at Dresden, 
but during the seven years’ war he was under the 
- necessity of leaving Saxony, and went in 1760 to 
Parma, where he was favoured with the patronage 
of the duke. He died there about 1800. We 
have the following prints by him: 
His own Portrait. . 
The Presentation in the Temple. 1755. 
Forty a etchings of Heads, and other subjects ; very 
ard . e 

a of Vases, and a Masquerade ; after Petitot. 

Four of Trophies. 1771. 

Four of the Attributes of the Seasons; circular, 1770. 

Two of Children, —~— 

A set of twenty-nine small plates; after the drawings of 
Parmigiano. 

Allegorical figures representing the Towns in Piedmont. 

St. Catharine ; after the celebrated picture belonging to 
the family of Sanvitali. The most esteemed plate of 

the artist. 

BOSSI, Griuszprr, of Milan, who was born at 

- Busto Arsizio near Milan in 1777, studied paintings 
from works in the Brera and at Rome. On his re- 
turn to Milan he became secretary of the Academy, 
for which he acquired casts and pictures in Paris. 
He was instrumental in the establishment of 
Schools of Anatomy and of Mosaic Painting. Be- 
‘sides executing numerous historical works, he made 

_a copy of Leonardo’s ‘ Last Supper,’ and also wrote 
a Life of that artist: and furthermore published 
poems in the Milanese dialect. He died at Milan 

'in 1815; he is represented in the Uffizi by his own 
portrait, and in the Pinacoteca at Milan by his own 
portrait and by a Dance of Amorini. 

BOSSIUS, Jacos, an old Flemish engraver, was 
born about the year 1520. He resided chiefly at 
Rome, and he is supposed to have learned the art 
of engraving from some of the pupils of Marc- 
Antonio. He worked with the graver in a neat 
but rather stiff style, and his drawing is not very 
correct. His prints, however, possess considerable 
merit, He sometimes marked his plates with his 
name at length, and sometimes BB. We have the 
following by him: 

Portrait of Michelangelo Buonarroti. 

Bust of Oardinal Otto Truchsess, of Albani; with a 
border, and an emblem of Charity; Jac. Bossius Belgia 
incidebat. 

Bust of St. Thomas Aquinas; Jacob Bossius Belgva 

incidit. 

The Crucifixion ; Jacobus Bossius incid. 

Four, of the Four Evangelists; marked B. B. F— 
Cock, exe. 

Jacob’s Ladder; after Raphael; marked Jae. 4d. 

pigs and §t. John curing the lame Man; Jae. 

OS. J. 
The Statue of Pyrrhus, King of Molossia; after the an- 

tique ; signed Jacobus Bossius Belgia incid. 1562. 
BOSSU. See Lz Bossu. 

BOTELLI, FeEticz, who was born at Piacenza in 
1652, studied under Nuvolone, and painted animals, 
birds, and fish with great spirit and beauty. He 
died in 1732. 

BOTET, F., a native of France, flourished about 
the year 1750. Among other prints he engraved 


PAINTERS AND ENGRAVERS. 


some plates representing gallant subjects and 
bambochades, after Charles Antoine Coypel. 
BOTH, ANprIEs, was born at Utrecht about 
1609. He followed almost the same career as his 
brother, Jan Both,—studied under his father, then 


under Bloemaert,and subsequently accompanied his 


brother to France and Italy. He chiefly employed 
his time in painting figures in his brother’s land- 
scapes; and works entirely by him are very rare. 
He was drowned in a canal at Venice in or before 
1644, and his loss is said to have caused his brother 
great affliction. Independent of the reputation 
Andries Both acquired by the charming figures 
which he introduced into the landscapes of his 
brother, he painted several pictures of his own 
composition, in the manner of Bamboccio, but 
more agreeably coloured; they generally repre- 
sent merry-makings, fairs, and quack-doctors, sur- 
rounded by figures, designed with great humour, 
and full of character: they are highly esteemed. 
He also practised the art of engraving with some 
success. We may mention by him: 
St. Anthony praying, with a skull; marked oth, 
reversed. 
St. Francis, with a crucifix before him ; the same. 
Bust of a Man,in Profile, with a Cap and Feather; 
marked 
Two Beggars. ° 
Two of Dutch Merry-makings; 4. Both inv. et fec. 
Six Landscapes, numbered ; of which the first is marked 
A. Both. 
The Five Senses, represented by grotesque figures; de- 
signed by Andries and engraved by Jan Both. 
BOTH, Jan, was born at Utrecht about 1610. 
He and his elder brother Andries studied under 
their father, who was a painter on glass, and from 
him they learned the first rudiments of design ; but 
they were afterwards placed under Abraham Bloe- 
maert, with whom they studied until they found them- 
selves sufficiently advanced in art to travel. They 
journeyed through France and Italy, and made a stay 
in Rome, where Jan Both, inspired by the beauty 
of the scenes around him, and emulated by the 
applause bestowed on the works of Claude Lorrain, 
was not long before he produced some landscapes 
that received the unqualified admiration of the 
artists themselves ; and Andries, who had studied 
the works of Bamboccio, decorated them with 
figures, painted in such perfect unison with the 
landscapes that it could hardly be believed that 
they were not by the same hand. The figures in 
no way intruded on the enchanting effect of the 
landscape, and the landscape occasionally withheld 
its attraction to give value to the charm of the 
figures. The sympathy of their affections had 
blended itself with the exertion of their talents ; 
and in their works everything was warm, tender, 
and harmonious. The landscapes of Both exhibit 
the most beautiful scenery; his colour is glowing, 
yet delicate, and there is a sparkling effect of 
sunshine in his pictures that has scarcely been 
equalled. Sometimes we admire the freshness of 
nature, enlivened by the first beams of the rising 
sun; at others the brilliant glow of its meridian 
splendour ; and we sometimes contemplate the rich 
tintings of evening in an Italian sky. The figures 
and cattle by Andries, with which they are en- 
riched, are grouped and designed with great taste 
and elegance. The works of these excellent artists 
had reached a distinction, even in Italy, that se- 
cured to them both fortune and fame, when a 
melancholy accident cut asunder the tender tie by 
which they were united, and deprived the pee of 


ee We ia) CANE hte OL oe BB et EY ee aT et 


A - BIOGRAPHICAL DICTION l 


the combination of their powers. While they resided | 


at Venice, returning home from an entertainment, 
in or before 1644, Andries unfortunately fell into 


one of the canals, and was drowned, Both did not | 


long remain in Italy after the death of his brother, 
but returned to Utrecht, where he endeavoured, it 
is said, to supply his loss by having the figures 
in his landscapes painted by Cornelis Poelenburg. 
He died after 1662. 
Gallery’ by Dr. Richter.) e 

The following are some of his prince works : ; 


> ay - 


his brother Andries assisted in the greater part; 


they are nearly invariably signed J. Boru the: J 
and the B interlaced. 


Amsterdam. Gallery. 


39 29 


Italian Landscapes (bree). 
A Farm. * 


ae ” 


of has best works). 


Antwerp. Museum. Italian. Scene. sa) 

Berlin. Gallery. Italian Landscape. 1650, 

Brussels. Gallery. Italian Landscape. ~ 

Copenhagem. Gallery. Italian Landscapes (two). 

Dresden. Gallery. Landscapes with Figures (five). 

Dulwich. _ College. A Mountain Path (and four others, 
in the style of Claude fer Bit). 

Florence. Uffizt. Landscape with figures. 

Hague. Gallery. Italian Landscapes (two)... 

London. Nat. Gall. Landscape —a party of Muleteers 


(one of his best works). 
‘Landscape with Figures “(the 
Jigures by Poelemburg represent 
the ‘ Judgment of Paris’). 
Rocky Italian Landscape. 
Cattle and Figures. 
Outside the Walls of Rome. 
; 3 River Scene (all stgned). 
»» Buckingham Pal. Baptism of the Eunuch. 
Munich, Pinakothek. Landscapes (siz). 
Paris. « Louvre. Landscapes (two). 
Petersburg. Hermitage. Landscapes cs 
The admirers of etchings are indebted to these 
able painters for a few plates, which are executed 
in so* picturesque and masterly a style that we 
regret they had not more frequently amused them- 
selves with the point. By Jan Both we have: 


A set of four upright Landscapes; signed J. Both fec. 

A set of six Landscapes ; lengthways; a oy 

A Landscape, with loaded Mules ; Both fee. 

A Landscape, with a Traveller seated, with a Basket; 
J. Both in», et fee. 

The Five Senses ; from the designs of Andries Both, 


BOTT, —, is supposed to have been a pupil of 
Moucheron.| A landscape, in the Hermitage, St. 
Petersburg, bears his name and the date 1677. 

BOTTALLA, Gtiovannrt Maria, was born at 
Savona, in the Genoese, in 1613. According to 
Soprani he went to Rome when he was young, and 
studied some time under Pietro da Cortona. He 
was taken into the protection of Cardinal Sacchetti, 
for whom -he painted several pictures, which were 
afterwards placed in the Capitol by Benedict XIV. 
The most important of these was ‘The Meeting of 
Jacob and Esau.’ He acquired the name of ‘ Raftael- 
lino,’ from his great veneration for the works of 
Raphael, but he never divested himself of the 
style of Pietro da Cortona, His other works are 
in the churches of Naples and Genoa. He died at 
Milan in 1644. 

BOTTANI, GiusEprr, was born at Cremona in 
1717, and studied first at Florence under Meucci 
and Puglieschi, and in 1740, at Rome, under 
Agostino Masucci. He returned in 1745, and estab- 
lished a school of painting at Cremona, and also 
gained considerable reputation for painting land- 
mela in the style of Gaspard Poussin, into which 

76 


(See: : wore ae of Dulwich’ 


Artist studying coon Nature (oe 


' plates representing buildings and antiquities, which 


he introduced Spree in the pleaeiae manner ¢ & 
Carlo Maratta. In 1769 he was made director of | 
the Academy at Mantua. His only historical work | 
worthy of notice, ‘St. Paola taking leave of her 
Attendants,’ is mentioned by Lanzi, as being in 
the church of SS. Cosmo e Damiano at Milan: it. ay 
is now in the gallery there, which also possesses _ 
Bottani’s own portrait by himself. ae): 
~BOTTICELLI. See FILipeprt. : 
“ BOTTSCHILDT, SAMUEL, a painter and en- 
graver, was born vat Sangerhausen, in Saxony, in 
1641. He painted historical: subjects with some 
success, and was made painter to the court, and 
keeper of the Electoral Gallery: at Dresden, in 
which city he established an’ academy for the in- 
struction of the young artists of his country. He 
died at Dresden in 1707. We have the following 
etchings by him, some of which are from his own 
designs : 
The exterminating Angel aie the aid of Sen- 
‘nacherib; S. Botschild, acqua Mahe vid 
-Four of. Allegorical Figures. ; . 
Four of the Times of the Day. ti 
Two emblematical subjects, one. of. ‘Hope and Patience, 
the other Faith and Charity ; oval. _ 
Dies and Hpeus giving: the Dimensions of the Trojan 
OLse..~ Paths tee a 
Hercules, with Cupid spinning. 6 ke ne Ce Se . Be 
BOUCHARD, JOSEPH, a French engraver, flour- > 
ished about the year 1760." He engraved several 


are executed in’a neat, finished style. 

BOUCHARDON; : -EpME, a French sculptor, 
architect, and engraver, was * born ‘at Chaumont- 
en-Bassigni in 1698. After-studying in Italy he 
established himself in’ Paris, ‘where he died in 
1762. His portrait by’ himself ‘isin the Uffizi, 
Florence. He engraved ; a, seas ae 

Two Portraits of Cardinal Borghese; after Bernini. 

Two Studies; after Carlo mah ok i ts ax 

A little Cupid: oval,” # 3% 

BOUCHE, Martin, an’ engraver, is believed, 
from the inscription on some of his prints, to have 
been a native of Antwerp. He worked chiefly for 
the booksellers, and was principally employed on 
portraits. His plates are executed almost wholly 


with the graver, in a neat but stiff style, and they — a 


are not without merit. Among his portraits are: 


John enue a Jesuit, who was. executed at Tyburn, | 
167 
Thomas Harcott, another J esuit ; signed Martin Pouche 
sc. Antwerma@. ~~ 

He engraved several others of the same Order, who 
suffered in England, and represented them with a 
knife in their breast, indicative of their sufferings. 

BOUCHER, FRANGOIS, a French painter and 
engraver, was born in Paris on the 29th of Sep- 
tember, 1703. His father designed patterns for 
embroidery, and from him Boucher no doubt 
received his earliest instruction in art. He was 
afterwards a pupil of Le Moine, but is said to 
have remained with him only three months, when 
he became the assistant of Jean Francois Cars, the 
father of Laurent Cars, who employed him in 
making designs for the headings of the “théses ” 
and other works of which he was the publisher. 
Having in 1721 designed aseries of illustrations to 
Daniel’s “ Histoire de France,” and subsequently en- 
graved for M. de Julienne the plates of Watteau’s 
“ Livre d’Etudes,” he in 1723 gained the first prize 
at the Academy with his picture of ‘ Evilmerodack 
setting free Jehoiakim’; but, through want of 


South Keen. streglon 


Cp a hy) Cp 
eFortral of C AAMMMNE. de Cc POE 


Prom the panting ty < de ber 


yay he w cet 


influential friends, he was not sent to Rome. In 


1727, however, he went to Italy at his own expense, 
in company with Carle van Loo, and _ reached 
Rome in the following year. He returned to Paris 
in 1731, and speedily gained animmense reputation 
in the operatic circles and gay society which he 


_ frequented. In 1734 he was admitted into the 


Academy upon his picture of ‘Rinaldo and Ar- 
mida,’ which is now in the Louvre. He was also 
attached to the tapestry manufactory at Beauvais, 
and upon the death of Oudry in 1755 became 
inspector at the Gobelins ; but this appointment he 
resigned in 1765, when he succeeded Carle van Loo 
as first painter to the king. His abilities naturally 
attracted the attention of Madame de Pompadour, 
for whom he painted, in 1753, the ‘ Four Seasons,’ 
as well as the two fine pictures of ‘Sunrise’ and 
‘Sunset,’ which are in the collection of Sir Richard 
Wallace. He also decorated with idyllic and erotic 
subjects the boudoir at the Hétel de 1’Arsenal 
in which Madame de Pompadour was wont to 
receive her royal lover. The decorations of this 
apartment were purchased some years ago by 
the late Marquess of Hertford, and are said to 
be most charming examples of the artist’s style. 
Boucher likewise painted five or six times the por- 
trait of the all-powerful favourite, whose intimate 
friend and instructor in etching he became. The 
frontispiece of her ‘ Suite d’Estampes’ is from his 
pencil, and many of the plates bear traces of the 


~master’shand. Boucher died of asthma at his resid- 


ence in the Louvre on the 30th of May, 1770, whilst 
sitting before an unfinished picture of ‘ Venus at 
her Toilet,’ and was buried in the church of St. 
Germain |’Auxerrois. He married, in 1733, Marie 
Jeanne Buzeau, a lady who painted miniatures 
which are now generally attributed to her husband, 
and who etched a plate of two peasants sleeping. 
His wife survived him, but the closing years of 
-his life were clouded by the ill-success of his only 
son, who failed alike in painting and in architec- 
ture, and by the deaths of his favourite pupils 
and sons-in-law, Bavdouin and Deshayes, to whom 
he was much attached. The extent and variety of 
Boucher’s work is amazing. He himself calcu- 


_ Jated that he had made no less than ten thousand 


drawings and sketches, and painted no less than a 
thousand pictures and studies. His pastoral sub- 
jects, after the manner of Watteau, are his best 
works. He painted but few portraits, yet that of 
Madame de Pompadour in the possession of M. 
Henri Didier is a masterpiece. Although highly 
esteemed in his own day, Boucher afterwards sank 
into undeserved oblivion, and it is only in recent 
years that the “ Anacreon of Painting” has been re- 
stored to the place which is hisdue. Voluptuousness 
is the idea which pervades almost all his works, but 
there is also present a delicacy of colour and grace of 
style which atone for much that is amiss. There is 
in the “Nécrologe des Hommes célébres de France’ 
for 1771 an able notice of Boucher, written by 
Antoine Bret, which is as free from the virulent 
criticism as it is from the extravagant praise 
alternately lavished by Diderot in his ‘Salons’ on 
the “Painter of the Graces.” Fuller information 


_ by those who desire it,in M. Charles Blanc’s ‘ His- 


) respecting the artist and his works may be found, 


toire des Peintres,’ and in the monographs of MM. 
de Goncourt and M. Paul Mantz. The following 
works of Boucher are in the public galleries of 
Europe: 

N 


_ PAINTERS AND ENGRAVERS. 


Angers. Museum. La Réunion des Arts. 
Edinburgh. Wat. Gall, Portrait of Madame de Pompa- 


dour. 
London, Wallace Twenty-one Pictures, including 
; Gall. some of his finest works. 
Paris. Louvre. Rinaldo and Armida. 


Diana leaving the Bath. 

Venus demanding of Vulcan 
arms for Aineas. 

Pastoral Subjects; four pictures. 

The Three Graces. 

Venus and Vulcan. 

The Forge of Vulcan. 

The Painter’s Studio. 

A Young Lady with a Muff. 

The Repose in Egypt. 

Venus and Adonis. 

The Triumph of Galatea. 

The Birth of Venus. 

The Toilet of Venus. 

Leda and the Swan. 

La Marchande de Modes. 

Neptune and Amymone. 


As in everything else which he undertook, so in 
his etchings Boucher displayed the qualities of a 
master. Although but little more than outlines, 
they are executed with spirit, ease, and grace. 
Prosper de Baudicour, in the ‘ Peintre-Graveur 
continué,’ enumerates 182 plates, of which about 
44 are from his own designs, The following are 
the most important : 

Figures de différents caractéres de paysages et d’études 
dessinées d’aprés nature par Antoine Watteau; 104 
plates, including a portrait of Watteau. 

La Troupe italienne ; after Watteau. 

Pomona; after the same. 

La Coquette ; after the same. 

View of Vincennes ; after the same. 

Livre d’Etude d’aprés les desseins originaux de Bloem- 
aert; 12 plates. 

Les Petits Buveurs de Lait; after himself. 

Le Dessinateur; after himself. 

La Blanchisseuse ; after ee 

Children playing ; after himself; 4 plates. 

Andromeda; after himself ; finished by Pierre Aveline. 

Innocence (Le petit Berger); after himself ; finished 
by Aveline. 

Recueil de diverses Figures chinoises; 10 pee 5 

BOUCHER, JEAN, was born at Bourges about the 
year 1700. He was the elder brother of Francois 
Boucher, and was also:a painter, though of no great 
celebrity. He etched five plates, among which is 
the portrait of Antoine Watteau, the painter. 

BOUCHER-DESNOYERS, Avaustz GaAsPARD 
Louis, Baron, one of the most eminent of modern 
French engravers, was born in Paris on the 19th 
of December, 1779. His father held the office of 
commissary-general in the military household of 
Monsieur, afterwards Louis XVIII., but through 
unforeseen misfortunes young Desnoyers was com- 
pelled to choose for himself a career. Intending 
to enter the corps of engineers, he devoted to 
drawing every moment which he could spare from 
the study of mathematics. At the age of twelve 
he was introduced to Lethiére, who admitted him 
into his studio, where he soon attracted notice. 
But the rapid progress which he made in drawing 
was but the means by which he hoped to attain 
the end which he had in view. This desire was 
soon accomplished, for the engraver Darcis, who 
had seen a ‘ Head of a Magdalen’ which Desnoyers 
engraved on tin when scarcely ten years old, took 
him under his care, and employed him on the out- 
lines of the plates after Carle Vernet upon which 
be was then engaged, In 1796 an nee in 

1 


9 
7 
bb) 


rb) 33 
Petersburg. Hermitage. 
2? 9 
Stockholm. Musewn. 


3° ” 
Versailles. Zrianon. 


i Footy 12 ER, Rt a eh ict ek ‘ 
A BIOGRAPHICAL DICTIONARY OF = 


the dotted style of a ‘Young Bacchante,’ from a 
drawing by Grevedon, met with a success which 
far surpassed the hopes of the young artist. He 
next produced a number of small subjects of similar 
character, which were very well received, and at 
the Salon of 1799 he exhibited his engraving of 
‘Venus disarming Cupid,’ after Rohert Lefévre, 
which gained a prize of 2000 francs, In this year 
he entered the studio of Alexandre Tardieu. The 
success of his engraving in line of ‘ Hope support- 
ing Man to the Tomb,’ after a sketch by Caraffa 
exhibited at the Salon of 1801, procured him a 
commission to engrave for the Musée the ‘ Belle 
Jardiniere’ of Raphael. From this time he rose 
rapidly to the first rank in his adopted art, and in 
1806 gained the large gold medal for his engraving 
of the celebrated antique cameo of ‘ Ptolemy II. 
Philadelphus and Arsinoé,’ belonging to the 
Empress Joséphine, which is now in the Hermitage 
Palace at St. Petersburg. His next important 
work was the full-length of Napoleon in his coro- 
nation robes, after Gérard. This was exhibited at 
the Salon of 1810, and for it Desnoyers received 
£2000, together with the return of the plate after 
600 impressions had been taken off. He engraved 
also in 1810 a small portrait of the Empress Marie 
Louise, to which a curious history is attached. The 
Austrian princess had not set foot on French soil 
when her portrait was being sold in Paris by thou- 
sands. The likenesses differed, but all were fright- 
fully ugly. Napoleon ina rage sent in the middle of 
the night for Baron Denon, and commanded him to 
go instantly to Desnoyers and desire him to engrave 
the portrait of the future empress. ‘Round head, 
fair hair, high forehead,” were the brief instruc- 
tions sent to the artist, who worked day and night 
until, at the end of four days, a proof was ready for 
approval. The emperor thought it superb, and 
had already ordered its immediate publication, when 
he received a faithful miniature of the archduchess, 
which rendered an alteration of the plate impera- 
tive, for the face of the new empress, instead of 
being round, was a very elongated oval. Twenty 
impressions had been taken when Desnoyers again 
set to work, and on the morrow the authentic por- 
trait of Marie Louise was in circulation throughout 
Paris. The empire fell, but the talented engraver 
continued to enjoy the favour of the court. A 
member of the Institute in 1816, he was engraver 
to the king in 1825, and a Baron in 1828, receiving 
soon after the cross of an officer of the Legion of 
Honour, He engraved many of the masterpieces 
of the Louvre, but after 1848 he did but little, for 
age had weakened his sight, and he died in Paris on 
the 16th of February, 1857, He appears to ad- 
vantage in his transcripts of the works of ancient 
masters, especially Raphael, whose characteristics 
he renders with the greatest truth and skill. His 
masterpieces are the ‘Belle Jardiniére’ of Raphael, 
and the ‘ Vierge aux Rochers’ of Leonardo da Vinci. 
But, although marked by exceptional talent, his 
engravings in line lack the freedom and breadth 
which distinguish those which he executed in the 
dotted style. The landscape backgrounds of his 
plates were for the most part engraved by Friedrich 
Giessler of Nuremberg. 

Among Desnoyers’ works the first place must 
be assigned to his engravings after the Madonnas 
of Raphael. These are as follow: \ 

La Belle Jardiniére, 1804. La Vierge au Donataire, 

1814. La Vierge au Linge, 1814. La Madonna della 
178 


1S set 


Sedia, 1814. La Madonna del | Pesce, 1822. ig La 

Madonna della Casa d’Alba, 1827. La Vierge au 

Berceau, 1831. La Belle Jardiniére de Florence, 

1841. La Madonna di San Sisto, 1846. ee aye n 
Desnoyers’ other works include: 


The Visitation ; after Raphacl, 1842. St. Catharine of “y 


Alexandria ; after the same, 1824. -The Transfigura- — 
tion; after the same, 1840. La Vierge aux Rochers ; 
after Leonardo da Vinci, 1812. The Holy Family ; 
after the same. I 
Eliezer and Rebekah; after Poussin, 1819. Moses 
rescued from the Waters; after the same. (The 
landscape engraved by Filhol and Niquet.) Venus — 
disarming Cupid; after Robert Lefevre; in dotted 
manner, 1799. The Muses and the Pierides; after 
Perino del Vaga, 1831. Cupid and Psyche; Cupid — 
bending his bow; after drawings by Ingres from 
antique sculpture; for the ‘Musée Francais,’ 1806. 
Ptolemy II. Philadelphus and Arsinoé; after a 
drawing by Ingres from an antique cameo. Belisarius ; 
after Gérard, 1806. Francis I. and his sister, Margaret — 
of Navarre; after Richard, 1817. Hope supporting 
Man to the Tomb; after Caraffa, 1801. Les Pénibles 
Adieux; after Hilaire Ledru; in dotted manner, 
1802. Napoleon Bonaparte, First Consul; after 
Robert Lefévre, 1802. Napoleon I., Emperor of the 
French; full-length; after Gérard, 1808. Marie 
Louise, Empress of the French, 1810. Napoleon, 
King of Rome; after Gérard. Baron Alexander von ~ 
Humboldt; an etching; after a sketch by Gérard, 
1806. Thomas Jefferson, President of the United 
States of America; in dotted manner, 1801. Charles 
Maurice de Talleyrand-Périgord, Prince of Benevento; 
full-length; after Gérard, 1814. R.E.G. 
BOUCHET, Lovis ANDRE GABRIEL, a French © 
historical painter, scholar of David, painted sub- 
jects from sacred and profane history, poetry, and 
portraits. He obtained the first grand prize in 
1797, and continued to exhibit until 1819. Gabet 
does not mention the date of his birth or death, 
BOUCHET, Lovis F. pv. See Du BoucHer. 
BOUCHOT, Frangois, a painter and engraver, 
was born in Paris in 1800. He studied engraving 
under Richomme, and then became a pupil of Reg- 
nault, and subsequently of Lethiere, and obtained 
the ‘ grand prix de Rome’ in 1823, He exhibited 
at the Salon from 1824 till his death, which occurred 
in Paris in 1842. A ‘Drunken -Silenus’ by him is 
in the Lille Gallery, and the ‘Burial of General 
Marceau’ in the Mazrie at Chartres. He was also 
celebrated for his portraits, 
BOUCK, or BOUCLH, — van. See BoEKEL. 
BOUCQUET, Vicror, a Flemish painter, was 
born at Furnes in 1619. He was the son of Marcus 
BoucquEtT, a painter little known. Descamps sup- 
poses he must have visited Italy, as his works 
exhibit a manner that partakes little of the taste 
of his country. He painted historical subjects, 
and was also esteemed as a portrait painter. His 
works are distributed in the different churches of 
the towus in Flanders. They are well composed, 
and, like those of most of the artists of his country, 
are well coloured. In the great church of Nieuport 
are two altar-pieces by this master, one of which, 
representing ‘The Death of St. Francis,’ is par- 
ticularly admired; and in the town-house there is 
a large picture by him, considered as his principal 
work, representing ‘The Judgment of Cambyses.’ 
The principal altar-piece in the church at Ostend 
is by Boucquet: it represents the Taking down 
from the Cross. He died at Furnes in 1677. 
BOUD, R., a Dutch engraver, flourished about 
the year 1590. He was principally employed in en- 
graving portraits for the booksellers: among others 
is a portrait of Hendrik Goltzius, the painter and 


The Magdalen; after Correggio. 3 ig 


Ie a i Pre ie alter yy 5 
; Pe fi) P Di 


engraver, crowned with laurel by Fame. It is 
_ executed with the graver, in a stiff, formal style. 

~ BOUDAN, ALEXANDRE, was a French engraver, 
_ who died in Paris in 1671. 
portrait of Anne of Austria, queen of Louis XIII. 


There is by him a 


BOUDEWYNS, Apriaan Frans, not ANTON 
Frans (BAUDUINS, or BAubourn), was born at Brus- 
sels, in 1644; he studied under a landscape painter 


named Ignace van den Stock, and was received into 


the Guild there in 1665. Hethen studied under 


A. F. van der Meulen, and afterwards painted 
landscapes in an Italian manner, which Pieter 


Bout decorated with figures. The Dresden Gallery 


has ten of their joint productions, the Madrid 


Gallery nine, the Uffizi in Florence three, the 
Louvre one, and the Vienna Gallery has two, and 
they are also seen in the Galleries of Antwerp, 
Rotterdam, and Brunswick. The date of Boudewyns’ 
death is not known for certain. Besides painting, 
Boudewyns devoted much of his time to en- 
graving. His plates are chiefly after the pictures 
or designs of Van der Meulen, and are etched in 
a bold, free style, producing a good effect. His 
works are as follow 
Six Landscapes, with Figures; middle-sized plates. 
Six large Landscapes; dedicated to Ph. de Cham- 
pagne. Hight Landscapes, with Buildings. Two 
Stag-hunts ; one dedicated to the Marquis de Louvois. 
_A large Landscape, with the March of the King to 
Vincennes ; dedicated to Ch.le Brun. A large Land- 
~ scape, with the Queen going to Versailles; dedicated 
to the Duc de Noailles. Six Views of Towns in 
France. Two Views of Versailles; as it was, and 
as it is. View of the Castle of Vincennes. View 
_ of the Palace of Fontainebleau ; two sheets. Two 
Views of Gardens in Italy ; after A. Genoels. 
BOUDIN, Evctne, a distinguished French 
marine painter. The son of a Honfleur pilot, he 
was from his infancy acquainted with the sea, and 
none of his fellow-artists could equal him in his 


-renderines of its atmosphere and movement. He 


was a close student of. nature, and exhibited first 
at the Salon in 1853, but it was not till 1881 that 
he was honoured with a medal of the third class, a 
second-class medal following in 1883. In 1889 he 
gained the gold medal, and was created knight of 


- the Legion of Honour in 1892. Two of his best 


works are in the Luxembourg, namely, ‘ Une 


Corvette Russe’ and ‘La Rade Villefranche.’ He 


died in 1898 at the age of seventy-three. pp. p. 

- BOUGH, SAmveEt, a Scotch landscape painter in 
oil and water-colours, was born in 1822 at Carlisle, 
where he worked for two years in the town clerk’s 
office. He received no systematic instruction in 
art, although he became connected with many 
artists. His first efforts were in scene painting 
and decorating interiors. In 1855 he removed to 
Edinburgh, becoming an Associate of the Scotch 
Academy in 1857, and a member in 1875. He 
died at Edinburgh in November 1878. Amongst 
his most important works are : 

Shipbuilding on the Clyde. Kirkwall. Borrowdale. 
London, from Shooter’s Hill. St. Monan’s. Winton 
Castle. Arran Hill. The Baggage-Waggon. Ben 
Nevis. A Windy Day. 

BOUHOT, Erienne, a French painter of archi- 
tectural views, both exterior and interior, was 
born at Bard-les-Epoisses (Céte-d’Or) in 1780. He 
studied under Prévost, and his works are numerous 
and much esteemed. He died at Semur in 1862. 

BOUILLARD, Jacquss, a French draughtsman 
and line-engraver, born at Versailles in 1744, was 
editor of ‘'l‘he Gallery of the Palais Royal.’ He 


N 2 


PAINTERS AND ENGRAVERS. 


engraved classical subjects after Poussin, Annibale 
Carracci, and Guido Reni, as well as after Le Sueur, 
Mignard, and Van Loo. He was a member of the 
Academy of Painting and Sculpture, and died in 
Paris in 1806. His best plates are: 


A Holy Family ; after Annibale Carracct. 
The Dream of Polyphilus; after Le Sueur. 
St. Cecilia; after P. Mignard. 


BOUILLON, Pierre, a painter and engraver, 
was born at Thiviers (Dordogne) in 1776, and 
studied under Monsiau. He carried off the first 
great prize in painting in 1797. Among other pic- 
tures he produced ‘Conjugal Piety,’ exhibited in 
1804; ‘Christ Resuscitating the Widow’s Son’ 
(1819); and ‘The Clemency of Cesar towards 
Cinna.’ The last two were commissioned in 1817 
by the Government, and were placed, the former 
in the council chamber in the Louvre (where it 
still is), and the latter in the palace of St. Cloud. 
He engraved the plates for the ‘Musée des An- 
tiques,’ published in three volumes folio. He died 
in Paris in 1831. 

BOUIS, Anprk. See Bouys. 

BOULANGE, Louis Jean Baptiste, a French 
landscape painter, was born at Verzy (Marne) in 
1812. He studied under Paris and E. Delacroix, 
and obtamed a medal in 1859. He died January 
1878, : 

BOULANGER, CL&émeEnt, who was born in Paris 
in 1805, studied under Ingres, and died in 1842 at 
Manisa (Magnesia) in Asia Minor. His pictures 
are chiefly historical, but he also painted landscapes 
and portraits. 

BOULANGER, GusTavE RopoLPHE CLARENCE, 
painter, was born in Paris, April 25, 1824. He 
began his art education at an early age, and when 
only fourteen was sent by an uncle to Africa, where 
he spent eight months making sketches, and where 
he seems to have imbibed his love for Oriental 
subjects. He became a pupil of Paul Delaroche 
and of Jolivet, and in 1849 gained the ‘prix de 
Rome,’ and remained in Italy till 1856. He devoted 
himself to Roman and Grecian archeological 
themes somewhat in the manner of Mr. Alma 
Tadema, In 1882 he was elected a member of the 
Institute, and was long a professor at the Heole 
des Beaux Arts. He married Madame Nathalie, 
of the Comédie Frangais, and to this theatre he 
presented a portrait of his wife, painted in 1867. 
He was also the author of a series of mural 
pictures in the Foyer de la Danse of the new 
Opera house in Paris, and of two in Prince 
Napoleon’s Pompeian house in the Avenue Mon- 
taigne, the ‘Flute Player’ and the ‘ Wife of 
Diomed,’ themes which he several times repeated, 
He died in Paris, September 22, 1888. 

BOULANGER, JzAn, though a native of France, 
is better known in Italy than in his own country. 
He was born at Troyes in 1606, but went to Bologna 
when he was young, and entered the school of 
Guido Reni, Under that able instructor he acquired 
a correct and graceful mode of designing, and a 
tender and harmonious colouring. His merit re- 
commended him to the protection of the Duke of 
Modena, who appointed him painter to the court; 
and he ornamented the ducal palace with several 
historical pictures, composed and painted in the 
elegant style of his master. He established an 
academy at Modena, and had many pupils. He 
died in 1660. In the Modena Gallery there are 
five works by him. 

179 


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A BIOGRAPHICAL DICTIONARY OF © on rae 


BOULANGER, JEAN, a French line-engraver, 
cousin to the painter of the same name, was born 
at Amiens in 1607. He seems to have attached 
himself at first to an imitation of the style of Fran- 
cois de Poilly, but he afterwards took up a mode 
of engraving which had before been practised by 
his contemporary, Jean Morin, but which he greatly 
improved, of finishing the flesh and naked parts 
of his figures with dots, instead of strokes, or with 
a mixture of both, which gave a very soft and 
mellow effect; but as he finished the draperies and 
backgrounds with rather a harsh use of the graver, 
there was a want of union in the effect of his 
plates. Notwithstanding this defect, his prints 
have considerable merit, and are justly held in 
estimation. He died in Paris about 1680. The 
following are some of his principal plates: 


PORTRAITS. 


Maria Theresa of Austria, Queen of France; after 


Frére Lue. 

Pope Urban VIII. ; J. Boulanger inv. et fee. 

Charles II., King of England. 

Gustavus Adolphus, King of Sweden. 

Leopold, King of the Romans. 

Henry of Castile, Abbot of St. Martin. 

J. Regnault de Segrais, of the French Academy. 

J. Jacques Olier, Curé of St. Sepulcre. 

a Beurier, Canon of St. Genevieve; after Jacq Le 

eure. 

Daniel de Cosnac, Archbishop of Aix; after Claude Le 
Febvre. 

V. Louis de Seckendorf; after C. Scheffer. 

Michael Nostradamus, Physician. 

St. Vincent de Paul. 

Mademoiselle Le Gras, Foundress of the Filles de la 
Charité. 

Francis Isidor de Hayrien. 

Frangois de Clermont, Bishop of Noyon. 


SUBJECTS FROM HIS OWN DESIGNS. 


Two Busts of our Saviour and the Virgin Mary. 

Bust “ the Virgin, surrounded by a border of Laurel ; 
oval. 

The Virgin Mary and Infant Jesus; half length. 

phe Nie Mary and Infant, with St. John presenting 
a Cross. 


SUBJECTS AFTER DIFFERENT MASTERS. 


The Virgin and Infant Christ holding some Pinks, 

called the Virgin of the Pinks; after Raphael. 

A Bust of the Virgin; inscribed Mater amabilis ; after 

the same. 

The Holy Family, with St. Joseph giving the Infant 

some Cherries ; after Carracct. 

The Virgin of Passau; after Solario. 

The Virgin Mary, with the Infant sleeping in her 

Arms ; after Guido. 
The Virgin and Infant Jesus, with St. John kissing his 
Foot ; after the same. 

The Holy Family ; after Noel Coypel. 

The Holy Family ; half-length figures; after Nic. Lowr. 

The Infant Christ ; inscribed Salvator Mundi, &c.; after 

the same. 1651. 

Christ bearing His Cross; after Nic. Mignard. 

The Virgin and Infaut, with St. John kissing His Foot ; 

after P, Mignard. 

The Descent from the Cross; after S. Bourdon. 

The Entombment of Christ ; after the same. 

The Crucifixion; after Ch. le Brun. 

St. Francis de Paula; after S. Vouet. 

The Dead Christ supported by Joseph of Arimathea. 

The Pompous Cavalcade on the occasion of Louis XIV. 

coming of age. 

BOULANGER, Lovis, was born of French 
parents at Vercelli, in Piedmont, in 1806. He 
studied painting under Guillon-Lethiere and A. 
Devéria, and entered upon the practice of art 
under the influence of the chiefs of the romantic 
school; and with an amount of early renown, which 
he afterwards retained. He was intimate with 

180 


Victor Hugo, who dedicated to him some of hi: a8 a 
poetical effusions, a compliment which he returned 
by illustrating the poet’s works in some of his _ 
most effective canvases. Boulanger obtained a ne 
medal of the second class in 1827, and one of the 
first class in 1836, and the decoration of the 
Legion of Honour in 1840; whilst in1860he was 
appointed director of the Imperial School of Fine 
Arts at Dijon. He had for a time a great reputa-— 

tion, but died almost forgotten, at Dijon, in 1867. _ 
He exhibited at irregular intervals, after 1828: 

Mazeppa. 1828. . OCR pe 

The Departure. 1828. “< 

The last scene of Lucrezia Borgia, in water-colours. 

1834 (purchased by the Duke of Orleans). ye 7 

The Triumph of Petrarch. 1836. 

St. Jerome with Roman Fugitives. 1855. . DS 

Romeo purchasing the Poison. 1857. ae est 

Lazarillo and the Beggar. 1857. 

Don Quixote and the Goat-herd. 1859. 

Othello. 1859. 

Macbeth. 1859. 

“Vive la joie.” 1866. eS 

BOULANGER, Marraizv, was a native of 
France, and flourished about the year 1680. He is 
supposed to have been a son of Jean Boulanger, | 
the engraver. He was chiefly employed in engray- 
ing portraits for the booksellers, which are executed 
in a stiff, heavy style. 

BOULANGER, Pierre EMMANUEL HIPPOLYTE,&® 
Belgian landscape painter, was born in 1837. He 
studied in the Academy at Brussels and at Tervu- — 
eren and the neighbourhood. He exhibited at the 
Brussels Exhibition in 1866, and at Ghent in 1867, 
when his pictures were much noticed. He ob- 
tained a medal in 1872 for his ‘ Allée des Charmes.’ 
He also exhibited ‘Environs de Tervueren’ at the 
Salon in 1873, and ‘Spring-time in Brabant’ at the 
International Exhibition at Kensington in 1874. 
He died at Brussels in 1874. 

BOULLONGNE, Bon pz, (or BovuLoGneg,) the 
elder son of Louis de Boullongne, was born in 
Paris in 1649. He was instructed by his father, | 
and having painted a picture of ‘St. John,’ which 
was shown to Colbert, he was sent to Rome for 
improvement, under the pension of the king, and 
there he remained five years. He afterwards 
visited Lombardy, and passed some time studying 
the works of Correggio and the Carracci. On his 
return to Paris he was a candidate for a seat in | 
the Academy, which he obtained in 1677, and 
painted for his picture of reception ‘ Hercules 
combating the Centaurs’ (now in the Louvre). 
He was made professor in 1692. Louis XIV. took 
him into favour, and employed him to paint the 
staircase at Versailles, under the direction of 
Charles le Brun. In 1702 he painted in fresco the 
cupola of the chapel of St. Jerome, in the church 
of the Invalides. One of his best works is ‘The 
Resurrection of Lazarus,’ in the church of the 
Carthusians. At Versailles he painted ‘ Venus and 
Cupid,’ and ‘Bacchus and Silenus;’ and in the 
Trianon, in 1710, ‘Juno and Flora,’ and ‘ The Toilet 
of Venus,’ both now in the Louvre. In addition tc 
these and the ‘ Hercules,’ the Louvre possesses an 
‘Annunciation,’ ‘St. Benedict restoring a Child to 
life,’ and a ‘Marriage of St. Catharine,’ by him. 
‘The Calling of the Sons of Zebedee,’ by him, is in 
the Dublin Gallery. He possessed a particular 
talent for painting what the Italians call ‘ pastici,’ 
or imitation of the style of other masters, without 
the servility of copies. He died in Paris in 1717. 
We have a few etchings by this painter: 


Naeger ar ee 


44 oe Ie ignorant, 
-_--—«-BOULLONGNE, Louis pz, ‘the elder,’ (or Bou- 
LOGNE,) a French painter, was born in Paris in 
1609, and was a pupil of Blanchard. He visited 
Rome, and studied the works of Titian, Guido 
Reni, and other great artists; and on his return 
_ to Paris became professor of the Academy, and 
painter to the king. His principal works are in 
the church of Notre-Dame at Paris, where he has 
painted ‘The Miracle of St. Paul at Ephesus,’ 
‘The Martyrdom of St. Simon,’ ‘The Beheading 
of St. Paul,’ and ‘ The Presentation in the Temple.’ 
He painted many pictures for churches, and made 
good copies of several of the masterpieces which 
the celebrated banker Jabach had purchased from 
the collection of Charles I.—amongst others, ‘The 
Labours of Hercules,’ after Guido; the ‘ Marquis 
del Guasto,’ and ‘The Disciples at Emmaus,’ after 
| Titian; and a ‘Nativity’ after Carracci. He died 
in Paris in 1674. He etched thirty-nine plates, 
among which may be mentioned: 
Le Livre de Portraiture (twenty-six plates). 
: A Holy Family, with the Bird. 
] The same subject, at the foot of a Column. 
4 The Miracle of St. Paul at Ephesus. 
The Beheading of St. Paul. 
The Rape of Helen; after Guido. 
~ His two daughters, GENEVIEVE and MADELAINE, 
were also painters, and were received into the 
Academy in 1669. The former, who married Jacques 
i Clérion, the sculptor, died at Aix in 1708, aged 63, 
and the latter in Paris in 1710, aged 64. 
| BOULLONGNH, Louis pz, ‘the younger,’ (or 
- Bounoene,) who was born in Paris in 1654, was 
the younger son of Louis de Boullongne the elder, 
and received instruction from his father. He 
--- was one of the most assiduous students of the 
Academy, and gained the prize for painting when 
- he was eighteen, and was consequently sent to 
- Rome, under the pension of the king, in 1675. He 
there copied for the Gobelins manufactory, in 
their original size, ‘The School of Athens,’ and 
the ‘Disputa’ of Raphael. He returned, through 
Lombardy and Venice, to Paris in 1680, and the 
following year he was received into the Academy ; 
his reception picture was ‘ Augustus ordering the 
Temple of Janus to be shut.’ In 1693 he was made 
professor, in 1717 rector, and in 1722 director; in 
this same year he received the Order of St. Michael, 
and was ennobled in 1724. Having in 1725 
been appointed painter to Louis XIV., he was 
employed at Fontainebleau, and in the chateau of 
Meudon. In the church of Notre-Dame, at Paris, 
he executed two fine pictures, ‘The Purification,’ 
and ‘The Flight into Egypt.’ The works of this 
painter show that he had profited more by his 
residence at Rome than has been usual with the 
artists of his nation. There is a fine character in 
his heads, his drawing is correet, and his colour 
is more vigorous than is generally found in the 
artists of the French school. He died in Paris in 
1733. He exhibited at the Salon from 1699 to 
1704. We have the following etchings by him: 


The Holy Family, the Infant Jesus holding a Bird by 
a String. 

The Holy Family, with St. John. eit 

The Dead Christ, with the Marys and Disciples. 


ss 


PAINTERS AND ENGRAVERS. 


The Martyrdom of St. Peter. 

The Martyrdom of St. Paul. 

The Flagellation of St. Andrew; after Paolo Veronese. 

St. Bruno. 

The Roman Charity. 

BOULONOIS, Esmz pz, an engraver, from his 
name was apparently a Frenchman. He was a 
print-seller, and lived about the middle of the 16th 
century. The prints we have by him are princi- 
pally portraits, and are entirely worked with the 
graver, in a neat but stiff style. Among others, 
we have the following portraits: 

Christopher Plantin. 

George Buchanan. 

Lady Jane Grey. 

Hans Holbein, painter. 

Anthony More, painter. 

_ BOUMAN, Pinter, a landscape painter, born 
at Dordrecht about 1765, painted views in the 
neighbourhood of Haarlem, waterfalls, winter 
scenes, and similar subjects, so prevalent with the 
modern Dutch artists. His works were deservedly 
held in estimation 

BOUNIEU, Micuet Honors, a French painter 
of historical and genre subjects, and engraver in 
mezzotint, was born at Marseilles in 1740. He 
was a pupil of Pierre,and became a member of 
the Academy at Paris in 1767. He was keeper of 
the prints at the Bibliotheque Nationale from 1792 
to 1794, and for the next twenty years professor 
of drawing at the Ecole des Ponts-et-Chaussées. 
He exhibited many pictures at the Salon, and at 
his own studio those of ‘Adam and Eve after their 
expulsion from Paradise,’ and ‘ Bathsheba,’ the 
former of which he himself engraved. The Bor- 
deaux Museum has a ‘Head of a Woman,’ and 
‘Baigneuses’ by him. , He died in Paris in 1814, 
leaving a daughter, Emitie Bounteuv, afterwards 
Madame RAvEau, who inherited her father’s talent, 
and exhibited historical subjects and portraits from 
1800 to 1819. 

Bounieu engraved about fifteen subjects from 


‘his own designs, among which are the following: 


Adam and Eve after their expulsion from Paradise. 

The Magdalen. 

Love led by Folly. 

The Punishment of a Vestal. 

The Birth of Henry IV.; an allegory. 

The Deluge. 

The Odalisque. 

BOUQUET, Emitz, a French historical, genre, 
and landscape painter, was born in 1819 at Lyons, 
and studied under Bonnefond. He sometimes 
worked in pastel. He died at Marseilles in 1876. 

BOURDON, Pierre, was a French engraver, 
who resided in Paris about the year 1703. He 
engraved a set of plates from his own designs, 
representing ornaments with figures for goldsmiths 
and jewellers. They are very neatly executed, and 
are inscribed Petrus Bourdon inv. et fecit. 

BOURDON, Pierre MicHEL, a French historical 
and portrait painter and engraver, was born in Paris 
in 1778. He was a pupil of Regnault, and painted 
for the town of Pau a ‘Crucifixion,’ which has 
been spoken of with praise. He engraved a series 
of plates entitled ‘Concours décennal,’ as well as 
some for the ‘Musée Filhol,’ of which he was 
director. He died in Paris in 1841. 

BOURDON, SisasTren, an eminent French 
painter and engraver, born at Montpellier on the 
Qnd of February, 1616, was the son of a painter 
upon glass, from whom he received his earliest 
instruction in the rudiments of art, At the age of 
, 181 


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‘ ‘ . - br yy. 5 Te ee q Du a eS = 
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A BIOGRAPHICAL DICTIONARY OF = 


seven he was taken by an uncle to Paris, and there 
placed under the tuition of Jean Barthélemy, with 
- whom he remained until he was fourteen years of 
age, when he returned to the south, and painted in 
fresco a ceiling in a chateau near Bordeaux. He 
then went to Toulouse, but met with so little encour- 
agement that he resolved to enlist. His military 
duties, however, proved so irksome to him that 
his commanding officer, who recognized his talent, 
gave him some hours’ leave each day until his 
friends procured his discharge. Being then eighteen 
years of age he went to Rome, where he was forced 
to make copies of the works of Claude Lorrain, 
Andrea Sacchi, Bamboccio, and other artists then 
in vogue, in order to gain a livelihood ; but after a 
stay of three years, being a Protestant, he thought 
it expedient to quit Rome on account of the 
jealousy of an obscure painter named De Rieux, 
who threatened to denounce him as a heretic to the 
Holy Inquisition. On his way home he visited 
Venice, and soon after reaching Paris married 
Susanne Du Guernier, the sister of the miniature- 
painters of that name. There a brilliant success 
awaited him, for in 1643 he was selected to paint 
the “mai” offered annually to the cathedral of 
Notre-Dame by the Goldsmiths’ Guild. The sub- 
ject chosen was the ‘Martyrdom of St. Peter, and 
the picture, now in the Louvre, at once established 
for him a reputation which has been preserved 
almost intact to the present day. He was one of 
the twelve artists who, in 1648, founded the 
Academy of Painting and Sculpture, and was one 
of its rectors from 1655 until his death. In 1652 
the troubles of the Fronde drove him to Sweden, 
where he became first painter to Queen Christina, 
whose portrait, painted by him and engraved by 
Nanteuil and Michel Lasne, remains the historic por- 
trait of the famous sovereign. Upon the conversion 
of the Queen to the Roman Catholic faith, and her 
consequent abdication in 1654, Bourdon returned to 
Paris, and, among other works, painted for the church 
of St. Benedict the ‘ Descent from the Cross,’ now 
in the Louvre, which was much admired. Family 
affairs calling him to Montpellier, he there painted, 
in 1659, for the cathedral church of St. Peter, an 
immense picture of the ‘Fall of Simon Magus,’ 
which was severely criticised by a local painter 
named Samuel Boissiére. An affray ensued, and 
matters threatened to become serious, when Bourdon 
prudently left Montpellier. After his return to 
Paris he, in 1663, painted, with the fable of Phoebus 
and Phaeton, the nine compartments of the ceiling 
of the fine gallery of the Hétel de Bretonvilliers in 
the Ile St. Louis, a mansion which has now entirely 
disappeared. This was Bourdon’s most important 
work, and it is fortunate for his renown that the 
decorations of the Hotel de Bretonvilliers have been 
handed down by the engravings of Friquet de 
Vaurose, one of his favourite pupils. His last work 
was a ceiling in the Tuileries, representing the 
‘ Deification of Hercules.” Bourdon died a Calvinist 


in Paris on the 8th of May, 1671. He was endowed | 


with wonderful fertility of imagination and facility 
of execution, but the quality of his work was very 
unequal, and his drawing often incorrect. He 
painted historical and genre subjects, portraits and 
landscapes, the last somewhat resembling those of 
Salvator Rosa. He has enjoyed a great reputation 
as a colourist, notwithstanding the somewhat vulgar 
preponderance in his pictures of reds and browns. 
The Louvre possesses drawings by him which are 
perhaps of even greater value than his paintings. 
182 


> 


They are 29 in number, and include the stu 0 
the ‘Martyrdom of St. Peter’ and the ‘ Descen 
from the Cross,’ as well as the so-called portrait of 
himself, which he introduced into his picture of the __ 
‘ Fall of Simon Magus.’ The engravings of Bour- __ 
don, especially his ‘ Acts of Mercy,’ are very fine, _ 
and will always bear witness to his great talent in _ 
etching, and his skill in the use of the graver. 
Robert-Dumesnil, in his ‘ Peintre-Graveur Fran- __ 
gais,’ describes 44 plates, all of which are from _ 
his own designs. The following are the principal —— 
subjects: ee, 

The Acts of Mercy ; seven plates. 

The Return of Jacob. 

Joseph’s Dream. 

The Angelic Salutation. 

The Visitation. 

The Annunciation to the Shepherds. 

The Flight into Egypt ; four different plates. 

The Holy Family with the Washerwoman. 

La Vierge a l’écuelle. 

La Vierge au rideau. \ 

The Repose in Egypt. 

The Return from Egypt. 

Landscapes; twelve subjects. é 

The following are the most important of Bour- _ 
don’s works which are preserved in the public 
galleries of Europe : fs 
Amsterdam. Musewm. The Marriage of St. Catharine. 


Bayeux. Museum. Queen Christina of Sweden. ¥ 
Cassel. Gallery. Soldier and Peasants playing 
Cards. d 
” is An Old Man awakening a Com- 
rade. 


Copenhagen. Gallery, Laban carrying away his Idols. 
Florence. Uffizi. The Repose in Egypt. 

Grenoble. Musewm. The Continence of Scipio. 
Hague. Museum. The Four Quarters of the World. 
Lille. Museum. The Saviour supported by Angels. 
Liverpool. Royal Inst. A Bacchanalian Scene. — 
London. Nat. Gall, The Return of the Ark from 


Captivity. 
Madrid. Museo del St. Paul and St. Barnabas at 
Pardo. Lystra. 
Montpellier. Cathedral. The Fall of Simon Magus. 
ri Musée Fabre. The Descent from the Cross. 
” a The Discovery of the Body of 
St. Theresa. : 
9 ” A Halt of Gipsies. 
” ” A Landscape ; very large. 
” An A Landscape with a River. 
9 3 Portrait of a Spaniard. 
al meh. Portrait of a General. 
Munich. Gallery. View in the Environs of Rome. 
Naples. Gallery. Portrait of a Farnese Princess. 
Paris. Lowvre. The Martyrdom of St. Peter. 
ae The Descent from the Cross. 
“ | Laban seeking his Idols. 
os He, The Sacrifice of Noah. 
= = Solomon sacrificing to Idols. 
> ss The Virgin and Child, with St. 
John. = 
3 9 The Adoration of the Shepherds. 
AS ‘ The Repose in Egypt. 4 
oe ‘ The Presentation in the Temple. _ 
at ae ke Christ blessing little Children. 
i 5 The Beheading of St. Protais. 
i = Julius Cesar at the Tomb of 
Alexander. 
Ee Ks A Halt of Gipsies ; two pictures. 
_ a The Beggars. 


Portrait of Himself. r. 

Portrait of Himself; the head ~ 
only by Bourdon, the remainder 
by Rigaud. 

Portrait of René Descartes. a 

Portrait, supposed to be that of 
Michel de Chamillart, Marquis 
de Cany. 


Louvre: : 
” i Case Coll. } Ao Toe 


“most eminent masters. 


ze '“< The Holy Family ; within a gar- 
land of flowers by Jean Bap- 
tiste Monnoyer. 

The Death of Dido. 

A Landscape. 


” ” 


” ” 
Toulouse. Musewm. The Martyrdom of St. Andrew. 
Turin. Gallery. The Massacre of the Innocents. 
Versailles. Palace. Portrait of Himself. 
oa AS Portrait of his Father, Marin 
Bourdon, - R, FE. G. 


BOURGEOIS, Frorenr Fiptne Constant, a 
French landscape painter, engraver, and_litho- 
grapher, was born in Paris in 1767. He studied 
under David, but spent much of his time in Italy. 
Landon mentions him as an artist distinguished 
for the richness of his compositions and the purity 
of his style, and describes three of his pictures as 
being in the manner of Gaspard Poussin. His 
death did not take place earlier than 1836. 

BOURGEOIS, Sir Perer Francis, was descended 
from a family of some importance in Switzerland. 
His father went to reside in London, where Francis 
was born in 1756. His early destination was for 
the army, and Lord Heathfield offered to procure 
him a commission; but he had received instruction 
in the rudiments of art from a painter of horses, 
and though he was a constant attendant at military 
evolutions and reviews, it was rather for the 
purpose of representing the manceuvres with his 
pencil than of acquiring a knowledge of military 
tactics. Some of his juvenile attempts having 
been shown to Reynolds and Gainsborough, those 
distinguished artists encouraged him to persevere 
in the cultivation of art. He was accordingly 
placed under the instruction of Loutherbourg for 
a sufficient time to acquire a correct knowledge of 
the true principles of painting, after which he 


resolved to prosecute his studies in the great school 


of nature, and in contemplating the works of the 
He had scarcely reached 
the nineteenth year of his age when he had acquired 
considerable reputation as a painter of landscapes, 
battles, and sea-pieces, which were considered as 
uncommon productions for so young an artist, and 
as certain indications of future excellence. In 
1776 Bourgeois set out on a tour through the 
Netherlands, France, and Italy, and studied with 
indefatigable assiduity the works of the most cele- 
brated masters of the different schools. When he 
returned from the Continent, he continued the 
exercise of his talents with increased ardour and 
reputation, and his exhibitions in the Royal 
Academy added considerably to the number of his 
admirers. 

When the Prince Primate, brother to the unfor- 
tunate Stanislaus Augustus, King of Poland, visited 
this country, he was particularly pleased with the 
works of Bourgeois, and made him the most 
flattering offers to induce him to return with him 
to Poland, which were gratefully acknowledged, 
though they were politely declined. In 1791, how- 
ever, he was appointed painter to the King of Poland, 
who also conferred on him the honour of a Knight 
of the Order of Merit, on which occasion he was 
introduced at our Court, and the King was pleased 
to confirm the title. Sir Francis was elected an 
Associate in 1787, and a Royal Academician in 
1793, and in 1794 was appointed landscape painter 
to George III. 

Sir Francis Bourgeois was the intimate friend 
of Desenfans, a celebrated picture-dealer, and de- 
voted a great part of his time to assisting that 


PAINTERS AND ENGRAVERS. 


; a? Petersburg. Hermitage. The Massacre of the Innocents. 


gentleman with his judgment in the formation of 
an extensive collection of pictures (many of which 
were originally intended for the National Gallery 
at Warsaw), which, with a considerable property, 
were left to him at the death of Desenfans in 1804. 
He did not survive the liberality of his friend 
many years. The valuable assemblage of paint- 
Ings which he inherited, containing good examples 
of Rembrandt, Cuyp, Wouwerman, Murillo, Poussin, 
and other masters, he bequeathed to Dulwich Col- 
lege, together with £2000 to build a gallery to 
receive them, and £10,000 to provide for its main- 
tenance. Sir Francis died in consequence of a fall 
from his horse in 1811, and was buried in the 
chapel of Dulwich College, The number of his 
pictures is considerable, and they were greatly 
esteemed in his lifetime. There are eighteen of 
them in the gallery of Dulwich College, among 
which are: 

Landscape and Cattle. 

A Friar kneeling before a Cross. 

View on the Sea-shore. 

Landscape, with Cattle and Figures. 

Religion in the Desert. 

Tobit and the Angel. 

Portrait of Sir Peter Francis Bourgeois. 

BOURGUIGNON, Lz. See Courtois, GUILLAUME, 
and JACQUES; also PERRIER, FRANCOIS. 

BOURGUIGNON-GRAVELOT, Husert Fran- 
Gos, who was born in Paris in 1699, and died there 
in 1773, executed drawings for subjects of bijou- 
terie as well as designs for illustrations of Racine, 
Voltaire, and Marmontel. 

BOURNE, James, a water-colour landscape 
painter, worked in London in the early part of the 
nineteenth century. He exhibited at the Royal 
Academy as late as 1809, but was living some time 
afterwards. Four views by him are in the South 
Kensington Museum. 

BOURSSE, Esatas, a Dutch painter of domestic 
interiors, was born at Amsterdam about 1630. He 
was working in his native city from about 1656 to 
1672. He visited Italy, and made several voyages 
to the Hast Indies in the service of the Dutch Hast 
India Company. His works are rare, and but little 
known. The Rijks Museum at Amsterdam has an 
‘Interior with a Woman spinning’; the Suermondt 
Museum at Aix-la-Chapelle has an example; and 
Sir Richard Wallace an ‘Interior, with a Woman 
sitting by a Child in a Cradle,’ 

BOUSONNET. See Bouzonnet. 

BOUT, Pizrer, who was born at Brussels in 
1658, painted chiefly in conjunction with Boude- 
wyns (see notice of that painter), whose land- 
scapes he ornamented with figures, representing 
assemblies, merry-makings, and such like subjects. 
He did a like service for Van Artois, as for instance 
in a picture of ‘ Winter’ in the Brussels Gallery, 
and a Landscape in the La Caze Collection in the 
Louvre. He occasionally painted pictures entirely 
his own composition. His death took place at 
Brussels not earlier than 1731. He has etched 
a few plates in a slight painter-like manner, as 
follow: 

Four Winter Scenes, with Skaters, and a variety of 

figures.’ 

Two, a Landscape, with a Statue of Neptune, and a 

View of the Sea-strand in Winter, with a Fish- 


market. 
Two, the Bride conducted to Church, and a Country 


Market, 
BOUTELOUP, GuituaumE, a French painter, 


flourished at Blois in the middle of aie pa 


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century. He was employed by the Kings ‘Henry | 
II., Francis II., and Charles IX., and as early as 
1558 held the office of painter in ordinary to the 


king. In 1560 he painted the portrait of Thony, 


the favourite fool of Francis II., and in 1572 his 
name appears for the last time in the accounts of 


the royal household. lee’ . 
BOUTELOUP, Louis ALEXANDRE, a French line- 

engraver who also worked in mezzotint, was born 

in Paris in 1761. Among other works he engraved 


the portraits of Caroline of Austria, Queen of 


Naples, after a drawing by himself, and of Car- 

dinal de Richelieu, from a terra-cotta bust by De- 

seine. The date of his death is not recorded. 
BOUTERWECK, Frrepricu, (or BUTERWECK,) 


was born at Tarnowitz, in Silesia, about the year 
1800. He was trained in the school of Kolbe at 
Berlin, and afterwards pursued his studies under 


Delaroche in Paris, where he three times carried 
off the gold medal. In 1834 he made a tour in 
Italy, and later in Spain, Scotland, and the East. 
After a while he removed from Berlin to Paris, 
where he lived for twenty-five years. In the 
course of his life he obtained twenty-three medals 
and numerous orders, He died in Paris in 1867. 
The following are among his best works: 


Orestes pursued by the Furies. 1833. 
Romeo taking leave of Juliet. 1836. 
Isaac and Rebekah. 1840. 

Episode from Gamacho’s Wedding. 

Jacob and Rachel. 1844. 

Baptism of the Ethiopian Eunuch. 1848. 


BOUTON, CHaArues Marig, whowas born in Paris 
in 1781, was a pupil of David. He was jointly with 
Daguerre the inventor of the Diorama. He was 
highly successful in representations of perspective 
and atmospheric effects, and in the distribution of 
light, and was therefore to be looked upon rather 
as a painter of decorations than of pictures in the 
ordinary sense. Amongst his productions of the 
latter class, there were some specimens in the 
Luxembourg, and in some of the royal palaces. 
In 1810 Bouton obtained a gold medal; and in 
1819 the great gold medal for his picture of ‘St. 
Louis at the Tomb of his Mother,’ a medal equiva- 
lent to the great prize, which Horace Vernet only 
carried off against him by one vote. He died in 
Paris in 1853. 

BOUTS, Apert, the son of Dirk Bouts, was 
a Brabant painter, who died at an advanced age 
in 1549. He is mentioned by Molanus in his 
manuscript ‘ History of Louvain’ as having painted 
an ‘Assumption of the Virgin’ in the church of 
St. Peter, at Louvain. The picture is not now to 
be found. 

BOUTS, Dirk, Theodoricus, Latin, Thierry, 
French, called also by error Stuerbout, and by 
some writers Thierry de Haarlem, was the son 
of a landscape painter of Haarlem of the same 
name as his son. He settled in Louvain before 
1448, and was employed on various important 
works for the municipality. In 1468 he is men- 
tioned in the town records as portratuerdere 
or municipal painter ex officio, his dues being 
merely ‘90 plecken for a coat.” About the same 
date he finished two large pictures which he had 
been commissioned to paint for the Council 
Chamber in the Hotel de Ville at Louvain. These 
paintings, now in the Brussels Gallery, illustrate 
a legend in the chronicle of Godfrey of Viterbo, 
which sets forth the virtue of justice as exemplified 
in a judgment of the Emperor Otho III, They 

184 


BIOGRAPHICAL D 


-on May 6, 1475. 


figures, painted perhaps with more 
detail of costume than to grace of form, but for 
in colour and thorough in execution. In the 
latter qualities indeed they strongly resemble 


| Roger De La Pasture of Tournai, better known by — " } 
: 


the Flemish. equivalent Van der Weyden, For 


eh 


his paintings in the Council Chamber Bouts re- — 


ceived the sum of 230 crowns, and was also 
commissioned in May 1468 to paint a large 
painting of the ‘Last Judgment,’ finished by him — 
in 1472. Another large picture was undertaken __ 
by him about the same time, but he did not live __ 
to finish it, his heirs being paid after his death 
for what he had done on it according to a valu- 
ation made by Hugo Van der Goes. Other works 
of this painter are: _ ete cy, 


Me 


A Triptych of the Martyrdom of St. Erasmus, in the vy 4 


Church of St. Peter at Louvain. About 1463. _ 
A large and fine Triptych of the Last Supper, in the 


same .church, the shutters of which, representing % 


Abraham and Melchizedech, and the Gathering of 


the Manna, are at Munich, and the wings, which 
depict the Eating of the Passover, and the Angel. >" om 


bringing the food to Elias, at Berlin. NE Ny," 
This work occupied the painter three years and ten  —_— 

months, and he was paid for it the sum of 200 

Rhenish florins, . Ses cane | 


There are a few other works by him in foreign — 
galleries, and many which are now proved to be 
by him were for a long time attributed to 
Memlinc. Bouts was born in 1400, and he died 


on April 17, 1475, he divided his estate between 
his two sons, his two daughters, who were nuns 
in the Convent of Dommelen, and Elizabeth van 
Vosshem his second wife, widow of John van 
Thienan, burgomaster of Louvain. A family of 
painters of the name of Stuerbout appears to have 
settled in Louvain in the early part of the 15th 
century. Hubert Stuerbout the painter and his 
sons Hubert, Gieles, and Frissen, are mentioned 
in several records of payments made between 
1439 and 1467, but it does not appear that this 
Hubert was any relation to Dirk Bouts. See. 
Crowe and Cavalcaselle, ‘Early Flemish Painters,’ 
2nd edit. 1872; Molanus, ‘ Historize Lovaniensium,’. 


a work in manuscript, and ‘Journal des Beaux 


Arts,’ 1867, pp. 111 and 112; also Ed. van Even, | 
‘L’ancienne école des peintres de Louvain,’ 1870, 


Pee ME e 
BOUTS, Dirk, a landscape painter, mentioned 


in the manuscript of Molanus, ‘ Historis Lovani- 
ensium, as having been the father of two sons, 
Dirk and Albert Bouts, and as having died early 
in the 15th century. 

BOUTS, Hupert, called a painter of Louvain. 
This is Hubert Stuerbout who is mentioned in the 
preceding article. ; 

BOUTTATS, . PrerzrR BatrHazar, a Flemish 
engraver, was born at Antwerp in 1666, and be- 
came dean of the Guild of St. Luke. He died in 
1731. 

BOUTTATS, Freperik, an engraver, was born at 
Antwerp about the year 1620. He engraved several 
plates after his own designs, principally portraits, 
and some after other masters. They are worked 
with the graver, in a neat style, and are not with- 
out merit. We have by him, among others, the 
following: he 

Charles Emmanuel, Duke of Savoy. 

Charles Gaspar, Elector of Treves. 


By his will, which was made - _ 


; 
; 


THIERRY BOUTS 


Hanfstingl photo] 


ST. CHRISTOPHER 


[Munich 


" Frederick William, Elector of Brandenburg. 
: ae George, Elector of Saxony. 


_ Frederik Bouttats, was born at Antwerp about the 
year 1625, and died there in 1703. He engraved 

chiefly for the booksellers, and some few plates 
after different masters. They are principally etched, 


_ and some finished with the graver. The following 
are by him: 
_ Frontispiece for the Psalms of St. Augustine; Gaspar 
Boutats fee. 


The Massacre of St. Bartholomew. 
_ The Assassination of Henry IV. 
- The Decollation of Count Nadasti, Count Corini, and 
Marquis Francipani. 

A Sutler’s Tent; after Ph. Wouwerman. 

He also etched the plates for a folio volume of 
* Views of Jerusalem, and the surrounding Country ;’ 
after the designs of Johannes Peters. 

BOUTTATS, Gerarp, the youngest brother of 

_ Frederik Bouttats, was born at Antwerp about the 
year 1630. He settled at Vienna, where he was 
appointed engraver to the University. His prints 
are chiefly portraits; the following are the 

principal: - 

Adamus Munds, Physician. 1657. 

Antonius d’Aumont. i 

Charles Joseph, Archduke of Austria. 

Don Pedro, King of Portugal. 

The Resurrection. 

BOUTTATS, Purureert, a Flemish engraver, 
the son of Frederik Bouttats, was born at Antwerp 
about the year 1650, and died at the age of 72. 

___ His prints consist chiefly of portraits, and are 
rather neatly engraved. The following portraits 
are by him: 

4 Pope Innocent XI. 

The Dauphin, Son of Louis XTV.; oval. 

Mary Antonia Victoria, of Bavaria, Dauphiness. 

Elizabeth Charlotte, Duchess of Orleans. 

William Henry, Prince of Orange. 

Christian V., King of Denmark. 

Herman Werner, Bishop of Paderborn. 

John Sobieski, King of Poland. 

Thesis, with the Portrait of the Bishop of Munster. 

BOUVIER, Auveustus JULES, a painter of figure 
subjects in water colour, first exhibited at the 
British Institution in 1848. In 1853 he was made 
a member of the Institute (then the New Society) 
of Painters in Water Colours. He died in London 
in 1881, aged 54. 

BOUYS, Anpr#, a French portrait painter and 
mezzotint engraver, was born at Hyéres about the 
year 1656. He studied under Frangois de Troy, 
and acquired sufficient reputation to gain admission 
into the Academy in 1688, when he presented a 
portrait of the painter Charles de La Fosse, now 
at Versailles, where there are likewise two portraits 
of himself, one of them representing also his first 
wife. He died in Paris in 1740, having engraved 
several portraits, among which are the following : 

André Bouys and his first Wife. 

Francois de Troy, painter. 

Claude Gros, de Boze; And. Boys pinx. ad vivum. 

1708. 


PAINTERS AND ENGRAVERS. 


Frangois René, Marquis de Bellay; Boys ping. 

Jean Baptiste Massillon, Bishop of Clermont; Boys fec. 

De Marais, famous musician. 

BOUZAS, Juan ANTONIO, was born at Santiago 
about the year 1672. He was a scholar of Luca 
Giordano, at Madrid, and proved a very promising 
artist. He painted easel pictures, which bear a 
resemblance to those of his master. The troubles 
occasioned by the war of the succession obliged 
him to withdraw himself from Madrid, and he 
returned to his native city. His principal works 
are in the churches at Santiago. In the cathedral 
is a picture of ‘St. Paul and St. Andrew,’ and in 
the convent of the Dominicans are two altar-pieces 
by him. He died in 1730. 

BOUZEY. See WoerrRi0T. 

BOUZONNET, Anrorne, (or BousonNeET,) called 
A. STELLA, was the nephew of Jacques Stella, and 
was born at Lyons in 1634, He was instructed by 
his uncle in the rudiments of design, and is said 
to have been a reputable painter. For his picture 
of ‘The Pythian Games’ he was in 1666 received 
a member of the Royal Academy at Paris, where 
he died in 1682. We-have a few etchings by him, 
among which is ‘Moses defending the Daughters 
of Jethro,’ after Poussin. 

BOUZONNET, ANTOINETTE, known as A. STELLA, 
was the sister of Antoine and Claudine Bouzonnet, 
and was born at Lyons about the year 1637, Al- 
though she was not equal to her sister in the use 
of the graver, her prints possess considerable 
merit. Her drawing is generally correct and full 
of taste. A third sister, FRANCOISE, was also a 
talented engraver. We have, among others, the 
following prints by Antoinette: 

Romulus and Remus suckled by a Wolf; after Antoine 

Bouzonnet. 


The Entry of the Emperor Sigismund into Mantua; 
after Giulio Romano. 


BOUZONNET, CLAupINE, called C. STELLA, was 
the niece of Jacques Stella, and was born at Lyons 
in 1636. She learned the principles of design 
from her uncle, but applied herself to engraving, 
in which she greatly distinguished herself. Her 
plates are chiefly after the pictures of Jacques 
Stella and Nicolas Poussin; and perhaps no artist 
has been so successful in engravings after the 
latter painter, she having greatly surpassed Jean 
Pesne. Her design is correct, and the characters 
of the heads are admirably expressed. She died 
in Paris in 1697, The following are her best 
prints : 

A set of seventeen plates of pastoral subjects, including 

the title; after Jacques Stella. 

Fifty plates of the Sports of Children, and rural sub- 

jects ; after the same. 

The Marriage of St. Catharine; after the same. 

Moses found in the Bulrushes; in two plates; after 

NV. Poussin. 

Moses striking the Rock; after the same; very fine. 

The Crucifixion, called the Great Calvary; after the 

same ; very fine. 

St. Peter and St. John curing the Lame Man; after the 

same. 

The Holy Family, with St. Elisabeth and St. John; 

after the same. 

Another Holy Family, with children bringing flowers ; 

after the same. 

BOVINET, Epme, a French engraver, who was 
born at Chaumont in 1767, was a pupil of Patas. 
His works are after the most eminent Italian, Dutch, 
and French painters; some are in the Galerie du 
Musée Napoléon. He died at Creil about 1832. 
The best of his engravings are: oe 


; i! te 4 
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bs, Fe <a, omy meal \ 


A BIOGRAPHICA 


The Campo Vaccino ; after Claude Lorrain. 

The Schoolmaster ; after Ostade. @ 

Orpheus and Eurydice; after Poussin. 

BOVINI, Francesco. In the description of the 
pictures at Ferrara, by C. Barotti, there are men- 
tioned two altar-pieces by this master, in the church 
of the Oratorio della Penitenza in that city, one 
representing ‘The Immaculate Conception,’ the 
other ‘The Adoration of the Magi.’ 

BOWER, Epwaprbp, is known as the painter of a 
portrait of Charles I., ‘ The King seated at his Trial,’ 
in the possession of Mr. W. H. Pole Carew, and 
of Lord Fairfax and other celebrated men. Some 
of his works were engraved by Hollar. 

BOWLER, Tuomas WILuIAM, a landscape painter, 
lived for some years at the Cape of Good Hope, 
and published a series of views of Cape Town 
and its neighbourhood. He afterwards visited 
Mauritius, and brought home many drawings taken 
in that island. He died in 1869. 

BOWLES, Tuomas, an English engraver, was 
born in London about the year 1712. He published 
a set of thirty views of the public edifices in and 
near London, of which some of the plates were 
engraved by himself, the others by Fourdriniere, 
Vivares, and others; among them are: 


A View of London from the Thames. 1751. 
Somerset House. 1753. 

Greenwich Hospital. 1745. 

The Rotunda at Ranelagh. 1751. 

The Royal Exchange. 

St. Mary-le-Bow. 


BOWNESS, WILiIAM, was born at Kendal in 
1809. He was an exhibitor in the Suffolk Street 
Gallery and at the Royal Academy from 1841 to 
1855, sending portraits and occasionally figure sub- 
jects. He died in 1867. 

BOWRING, Bensamin, an English portrait 
painter in oil and miniature, exhibited at the Royal 
Academy from 1778 till 1781. : 

BOWYER, RosBert, born in 1758, was a cele- 
brated miniature painter in the reign of George 
IIl., and was much patronized by the Court. He 
published a ‘History of England,’ with portraits, 
which bears bis name. He died at Byfleet in 1834. 

BOXALL, Sir WILLIAM, was born on the 29th 
of June, 1800, at Oxford, and received such edu- 
cation as his father, a supervisor of excise, was 
able to afford at the Grammar School at Abingdon. 
As he early showed a love and ability for drawing, 
he was sent to London, and in 1819 obtained ad- 
mission into the Art Schools of the Royal Academy. 
About eight years later he went to Italy to study 
the works of the old masters, which laid a sure 
foundation for that judgment and discrimination 
on art matters which were afterwards of such 
eminent service to him. He returned to London 
in 1829, and in that year exhibited ‘ Milton’s Recon- 
ciliation with his Wife,’ and a portrait of Thomas 
Stothard ; and thenceforth till 1866 he was a con- 
stant contributor to the annual exhibitions of the 
Royal Academy, sending in all no less than eighty- 
three works. Though for some years he continued 
to paint allegoric subjects, as for instance his 
‘Lear and Cordelia’ and ‘Hope,’ yet he finally 
devoted himself to portraiture. Among the persons 
who sat to him were—Allan Cunningham, Copley 
Fielding, Landor, David Cox, Coleridge, Words- 
worth, Frederick Huth, and the Prince Consort, 
Mrs. Hanbury Leigh, Miss Harriet Hosmer the 
American sculptor, Mrs. Cardwell, and Mr. and 
Mrs. Peto. 

186 


rn Ce, eee 
che \P " 7 > 


» J . ak Sy ee 
L DICTIONARY 


ever, in 1874, to resign the directorship, the duti 


| at a very low ebb in England, and the collectors 


; Mi * 
ta 


hia Be 
ee 
‘ ‘ . 


a 


Soon after the death of Sir Charles Eastlake, in 
December 1865, Boxall was appointed director of — 
the National Gallery. He was compelled, 


of which he had performed with judgment, discre- 
tion, and zeal, and in recognition received the 
honour of knighthood on the 24th of March, 1871. } 
In 1852 he had been elected an Associate of the 
Royal Academy, and twelve years later he received — 
the full membership, which he resigned in 1877. 
He was also an honorary member of the Academy 
of San Fernando at Madrid. He diedin London ~~ 
on the 6th of December, 1879. af aes 

In the Diploma Gallery at Burlington House 
there hangs his portrait of John Gibson, the sculp- 
tor, painted in 1863, and exhibited in the follow- 
ing year; in the National Gallery he is represented 
by a single work, and that neither typical nor a 
masterpiece, Itis entitled ‘Geraldine, andrepre- __ 
sents a lady at her toilet ; it was exhibited at the _ 
Royal Academy in 1850. | a 

BOYCE, G. 8., born in 1826, was educated as 
an architect, and articled to Mr. Little. He ; 
travelled largely on the Continent, and made 
careful studies of various styles of architecture ; 
but, on meeting David Cox at Bettws-y-Coed in 
1849, he took up landscape art, though he did 
not exhibit till 1853. In 1864 he was elected an 
Associate of the old Water Colour Society, but 
waited fourteen years for full membership. He 
was one of the founders of the Hogarth Club; 
and was a great friend and admirer of the late 
Dante G. Rossetti, and brother-in-law of H. T. 
Wells, R.A. He retired in 1893, dying three years 
later. 

BOYCE, Jonanna Mary. See WELLs. 

BOYCE, Samuget. The name of thisengraveris 
affixed to a portrait of Edward Russell, Earl of 
Orford. He died in 1775. ’ 

BOYDELL, JoxuN, who was born at Dorrington, 
in Shropshire, in 1719, was the son of a land- 
surveyor, who brought him up to his own pro-— 
fession, which he followed until he reached the age 
of twenty. Having at that period accidentally | 
met with Badeslade’s views of different country 
seats in England, particularly one of Hawarden 
Castle, with which he was well acquainted, he 
determined to learn the art of engraving. With 
this resolution he came to London, and bound him- 
self a pupil to Toms, the engraver of the plate he 
had so much admired, Under that artist he applied 
himself with great assiduity for six years. On 
leaving his instructor, his first publication was a 
set of six views near London, which, on account of 
there being a bridge in each of them, was called 
‘The Bridge Book.’ He afterwards engraved 
many plates of views in England and Wales, 
which he published in one volume, at the price of 
five guineas. This publication may be regarded as 
the basis on which he raised the structure of his 
future eminence, and, as he used himself to express 
it, was the first book that ever made a lord mayor 
of London. By the profits of this work he was 
enabled to commence that encouragement to young 
artists which he afterwards carried to so laudable 
an extent. The art of engraving was at that time 
of prints were in the habit of receiving them from 
abroad. It may be very justly attributed to the 
persevering industry of Boydell that it was carried 
to such perfection as to occasion the works of 
British engravers to be sought after through every 


_ part of Europe. 

__ erowned the labours of this extraordinary man in 
the promotion of engraving served only to excite 
him to further projects for the advancement of the 
__ arts; and he formed an extensive and liberal plan 
_ forthe encouragement of painting in his prodigious 
__ undertaking—the illustration of Shakespeare, with 
«engravings from pictures painted by the most 
eminent English artists. 

_ Boydell’s intention to have bequeathed the Shake- 
__-speare Gallery of Paintings to the public, but the 

_ disastrous consequences of the French Revolution, 
___which operated very prejudicially to his extensive 
- concerns, made it necessary for him to apply to 


The distinguished success which 


It is said to have been 


Parliament to dispose of it by lottery. His applica- 
tion was acceded to. In 1774 he was elected 
alderman of his ward, and in 1791 served the 
office of lord mayor with great distinction. Boydell 
lived to the advanced age of 86, respected by all 
who knew him. He died in 1804. 

The extent of Boydell’s labours may be esti- 
mated from the fact that he issued 4432 plates, 
which were published in forty-eight folio volumes, 
of which twenty-six volumes were occupied with 
the English school, fourteen with the Italian, six 
with the Dutch and Flemish, and two with the 
French school. 

BOYDELL, Jostau, who was born at Stanton, in 
Shropshire, in 1750, was nephew of John Boydell. 
He painted a few pictures for the edition of Shake- 
speare published by his uncle, which were fairly 
well executed. He also exhibited portraits and 
other works at the Academy from 1772 to 1779. 
He was an alderman of London, and Master of the 
Stationers’ Company. He died at Halliford in 
1817. | 

BOYER, Jean Baptiste, Marquis D’ AGUILLES, 
a French nobleman, was born at Aix, in Pro- 


_vence, in 1650, and was procurator-general] of the 


parliament of that town. His love of the arts led 
him into an intimacy with the principal artists of 
his time, particularly with Puget, the celebrated 
sculptor, with whom he went to Italy, and formed 
a large collection of pictures, sculpture, &c., of 
which he published the prints intwo volumes; six 
of the plates were engraved by himself. He also 
amused himself with painting, for which he is 
said to have had an excellent taste. He died at 
Aix in 1709. Some of his plates are executed 
with the graver, the others scraped in mezzotint. 
Among others we have by him: 

‘The Marriage of St. Catharine ; after Andrea del Sarto ; 

with the graver. 

Two figures of Christ ; on one plate ; the same. 

Two Landscapes; after Brecourt ; the same. 

St. John the Baptist; after Manfredi ; mezzotint. 

Bust of a Man; the same. 

BOYNE, Joun, born in the County Down about 
1750, is known as a water-colour painter of some 
repute. He was apprenticed to Byrne, the landscape 
engraver, but itis said led a wild kind of life. He 
died in 1810. A drawing by him, ‘A Meeting of 
Connoisseurs,’ is in the South Kensington Museum. 

BOYS, AnpRE. See Bovys. 

BOYS, H. pv. See Du Boys. 

BOYVIN, Renz. See Boivin. 

BOZAUS. See Woerrior. 

_BOZE, JosErH, a French portrait and miniature 
painter, was born at Les Martigues (Bouches-du- 
Rhéne) about 1746. He paintec the portraits of 
Louis XVI. and Marie Antoinette, and, being 
devoted to the court and the royal family, narrowly 


PAINTERS AND ENGRAVERS. 


escaped the guillotine. He was thrown into prison, 
but the fall of Robespierre set him at liberty, and 
he came to England, where he remained until the 
restoration. He died in Paris in 1826. His own 
portrait is among his drawings in the Louvre. 

BOZZATO, In. See PoncHIno. 

BRABANT, Henri BELLECHOSE pr. See 
BELLECHOSE. 

BRACCIOLI, Giovanni FRANcEscO, who was 
born at Ferrara in 1698, was first a scholar of 
Giacomo Parolini, but afterwards went to Bologna, 
and studied under Giuseppe Crespi. On his return 
to Ferrara he was employed in painting for some 
of the churches and convents. In the oratory of 
the Theatines is an altar-piece by this master, repre- 
senting ‘The Annunciation ;’ and in the church of 
St. Catharine there are two pictures, one ‘The 
Flagellation,’ and the other ‘Christ crowned with 
Thorns.’ According to Barotti, these are his best 
works. He died at Ferrara in 1762. 

BRACELLI, Giovanni Barrisra, an Italian 
painter and engraver, was born at Genoa about 
1584. He was a scholar of Giovanni Battista 
Paggi, and painted historical pictures in the style 
of his master. He engraved the plates for an 
architectural work published at Rome by Giacomo 
Borozzio. They are executed in a neat, stiff style. 
He died young, in 1609. 

BRACQUET, Puiippz, a French historical 
painter, was born at Douai at the commencement 
of the 16th century. He was an artist of merit, 
and worked at Valenciennes in 1558. 

BRADEL, P. JEAN BaprisTE, a French draughts- 
man and engraver, was born in Paris about 1750. 
He was chiefly employed in engraving portraits, 
which are neatly executed, and which include the 
following plates: 

Pope Benedict XIV. 

Pope Clement XIV. 

Madame Louise, of France. 

Louis Francois Gabriel de la Motte, Bishop of Amiens. 

General Paoli. 

Prosper Jean de Crébillon. 

Jean Bart, Admiral. 

The Chevalier d’Eon. 

An allegorical subject ; inscribed Trinus et unus. 

A Boy playing on the Tambour de Basque. 

BRADLEY, WIt.14M, was born at Manchester 
in 1801. Left an orphan when only three years of 
age, he commenced life as an errand boy, but his 
innate taste for drawing prevailed over all impedi- 
ments, and at sixteen years of age he began prac- 
tice as an artist, taking portraits at one shilling 
each, and advertising himself as “ portrait, minia- 
ture, and animal painter, and teacher of drawing.” 
He had a few lessons himself from Mather Brown, 
then in high repute at Manchester ; and at the age 
of twenty-one went to London, where he was for- 
tunate enough to obtain an introduction to Sir 
Thomas Lawrence, who gave him encouragement. 
After remaining some years in the metropolis, in 
the course of which time he paid occasional visits 
to Manchester, he finally, in 1847, settled down in 
the latter town ; where, as in London, he enjoyed 
a large share of patronage. Amongst the portraits 
painted by him are those of Lords Beresford, San- 
don, Denbigh, Bagot, and Ellesmere; Sir E. 
Kerrison, John Gladstone, B. Heywood, James 
Emerson Tennent; Col. Currieton, C©.B., Col. 
Anderton, the Rt. Hon. W. E. Gladstone, Sheridan 
Knowles, W. C. Macready, &c. As an artist 
Bradley undoubtedly possessed high talent. His 
heads are remarkable for skilful drawing, pape 

1 


“. mW ht OR yt 
puto See.) 


A BIOGRAPHICAL DICTIONARY OF 1 ee at, 
A “Descent from the i. | q 


was not second to any man of the day in produc- 
ing a striking and intellectual likeness. During 
his later years his health failed, his mind was 
affected, and he lost the money he had made in his 
early career. He died in 1857. 

BRAED, Nicotaas, was a Dutch engraver, who 
flourished from the year 1600 till about the year 
1630, He engraved several plates from the designs 
of Hendrik Goltzius and Jakob Matham. His name 
is also affixed to a small upright plate, represent- 
ing ‘Christ before Pilate,’ after Tintoretto. 

BRAEKELEER. See De BRAEKELEER. 

BRAKENBURG, RicHarp, was born at Haarlem 
in 1650. He was first instructed in art by Mom- 
mers, a landscape painter, but he afterwards be- 
came. a scholar of Bernard Schendel, whose style 
was more suited to his genius. He painted simi- 
lar subjects to those of his master, representing 
merry-makings and drunken assemblies, His pic- 
tures are painted with facility, although they have 
the appearance of being very highly finished ; and 
he perfectly understood the management of chiaro- 
scuro, His greatest defectis his incorrect drawing 
of the figure. He died at Haarlem in 1702. The 
Vienna Gallery has two ‘ Peasant Scenes’ by him, 
the Berlin Museum one, and the Amsterdam Gallery 
one. Inthe Brussels Gallery is a‘ Children’s Feast,’ 
signed and dated 1698; and the Rotterdam Museum 
has a ‘ Doctor’s Visit,’ signed and dated 1696. In 
Windsor Castle are two good ‘ Artists’ Studios’ by 
him. He also sometimes practised the art of 
engraving. 

BRAMANTE pa MILANO. See MILANO. 

BRAMANTE pa URBINO. See Lazzari. 

BRAMANTINO. See SuARDI. 

BRAMBILLA, GiIovANNI BaTTISTA, was a native 
of Piedmont, and flourished about the year 1770. 
He was a scholar of Cavaliere Carlo Delfino, and 
acquired no mean reputation as a painter of history. 
There are some of his works in the churches at 
Turin, of which the most worthy of notice is a 
picture of the ‘ Martyrdom of St. Dalmazio,’ in the 
church dedicated to that saint. 

BRAMBINI, Amproaio, was a native of Italy, 
and flourished about the year 1580. Among other 
works he engraved a large plate, entitled ‘Bene- 
dizione del Pontefice nella Piazza di San Pietro.’ 
The composition consists of a great number of 
figures, and it is executed in a slight style, some- 
what resembling that of A. Tempesta. It is from 
a design of C. Duchetti, and is inscribed Ambrosvus 
Bram. F. 

BRAMER, LeEonarp, was born at Delft in 1596. 
In 1614 he started on a rambling tour, and went 
through France and Italy, in the latter of which 
he passed many years of his life. At Rome he 
was a member of the Colony of Dutch Artists, 
presided over by Elzheimer. He resided for some 
time at Florence and at Venice. On his return to 
Delft he founded a Guild of St. Luke, and adorned 
the meeting-hall with frescoes. He also decorated 
the Doelen, a public edifice in Delft. The date of 
his death is not recorded; he was still living in 1667. 
He painted historical subjects of a small size, which 
he ornamented with vases of gold and silver, imitated 
with a precision bordering on servility. His pencil 
is, however, light and spirited, and he was a perfect 
master of chiaroscuro. He also excelled in paint- 
ing night-pieces with towns on fire, and caverns 
with the light coming from above, in the manner of 
Rembrandt, and this has led persons, unacquainted 
with the time in which he lived, to suppose he was 

188 


TA Le ee a, ee rn an OD Mite te aye a 
Mia Sh ah ean te ot Gy ah % Lee. Tae 
tee Oh aR) Petras nes ora fT Va amen vag Tuy 
‘ Pers ‘4, oe, tote U 
Diy Ss aie ol 8 gi nee > ; rie el 


ret mt te 
ii Rs Se al 
; 


a scholar of that master. 
Cross’ by Bramer, in which the body of Christ was 


lighted by a sun’s ray, after Rembrandt's manner, — 4 


was formerly in the Museum of Rotterdam, but it 
perished in the fire. He also executed seventy-two 
indian-ink drawings of the ‘ Eulenspiegel,’ and 
was to some small extent an engraver, three plates 
of his being mentioned, viz., ‘Christ with Nico- 


demus, a ‘ Musician,’ and ‘ Still Life.’ Among his 

best paintings may be noticed: 

Delft. Town Hail, Archers. : 

Dresden. Gallery. Christ mocked (signed and dated 
1637). | i 


Solomon in the Temple. 


i i Solomon and the Queen of Sheba. 


29 39 
Madrid. Gallery. The grief of Hecuba. 
4: na Abraham and the three Angels. 
Vienna. Belvedere, Vanity. 
Transitoriness. 


BRAND, Curist1an Htireorr, who was born 
at Frankfort-on-the-Oder in 1695, and studied un- 
der Agricola, left that town and settled, in 1720, 
at Vienna, where he became celebrated for his 
landscapes. He died at Vienna in 1756. The 
Belvedere has by him four pictures, landscapes 
with figures of cattle. a 

BRAND, Friepricu August, the son of Christian 
Hilfgott Brand, was born at Vienna in 1735. He 
was a member of the Imperial Academy, and died 
at Vienna in 1806. He painted several historical 
subjects and landscapes, which are favourably 
spoken of by the German authors, and engraved 
some plates, both with the point and with the 
graver, in the use of which he was instructed by 
Schmutzer. Among others, we have the following 
by him: 

The Breakfast ; after Torenvliet. 

A View near Nuisdorf. 

View of the Garden of Schoenbrunn. 

Banditti attacking a Carriage. 

The Entrance to the Town of Crems. 

BRAND, JoHANN CHRISTIAN, a German painter 
and engraver, was born at Vienna in 1723, and was 
instructed in art by his father, Christian Hilfgott 
Brand, He acquired great celebrity in Germany 
as a landscape painter, and was made professor of 
the Imperial Academy at Vienna in 1770. He 
died there in 1795, The Belvedere at Vienna has 
a ‘Battle of Hochkirchen’ by him, and six land- 
scapes ; and in the Darmstadt Gallery there isa 
picture of ‘ Fishermen on a Sea Coast.’ He etched 
several plates of landscapes, in a spirited style, 
among them the following: 

Eighteen of Landscapes, Heads, and Animals. 

Four Landscapes, with Peasants. 

Six other Landscapes, engraved in a different manner. 

BRANDARD, E. P., born in 1819, was a 
younger brother of the eminent line-engraver, 
R. Brandard, to whom he was apprenticed in 
Islington as a lad. He was an ardent admirer 
of Turner, who often visited the studio to touch 
the proofs of his works. He engraved several: 
among them the ‘Grand Canal at Venice,’ as well 
as ‘The Hay Wain,’ and ‘Salisbury Cathedral,’ by 
Constable. He engraved a view of Balmoral Castle 
for Queen Victoria’s ‘Journal of the Highlands,’ 
and contributed numerous plates to the Art 
Union of London. He exhibited many drawings 
at the Royal Academy and other galleries, and 
died on April 3, 1898. 

BRANDARD, Joun, a brother of Robert Brand- 
ard, was born at Birmingham in 1812. He was 
for many years well known as an excellent 


1786. 


7.) 
. 


wa 


__ Brockedon’s ‘ Passes of the Alps,’ Captain Batty’s 


_ BRANDARD, Rosert, a landscape engraver, 
was born at Birmingham in 1805. He went to 
London in 1824, and entered the studio of Edward 


Goodall, with whom, however, he remained only 
a year. He engraved some of the subjects for 


_ ‘Saxony,’ Turner’s ‘England and Wales,’ and 


p 


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‘English Rivers,’ and numerous plates for the 


‘Art Journal,’ after Turner, Stanfield, Callcott, 
Herring, and others. His most important engrav- 
ings on a large scale were Turner's ‘Crossing the 
Brook,’ ‘The Snow-storm,’ and ‘The Bay of Baia.’ 
He also published two volumes of etchings, chiefly 
landscapes, after his own designs. He occasion- 


_ ally exhibited small oil pictures at the British 


Institution, which were distinguished by a good 
feeling for nature and a healthy tone of colour. 
He died in 1862. ‘Rocks at Hastings,’ in water- 
colour, by him, is in the South Kensington Museum. 

BRANDEL, Perr Jan, a Bohemian painter, was 
born at Prague in 1668. He was a scholar of Jan 
Schréter, and in four years surpassed his master. 
He gave proof of his ability in many pictures 


painted for the churches and other public edifices 


at Prague and Breslau. He died in the greatest 
poverty at Kuttenberg in 1735, In the Belvedere 


_ at Vienna is a picture of ‘The Woman taken in 


, by him. 
_ BRANDENBERG, Jowany, was born at Zug, in 


Switzerland, in 1660. He was the son of Thomas 


Brandenberg, a painter, by whom he was instructed 
in the art. On the death of his father he was taken 


_ under the protection of the Count of Ferrara, who 


a 


took him to Mantua, where he-was so struck with 
the fine works of Giulio Romano that he applied 
himself with great diligence to studying and copy- 
ing them. On his return to his native country he 
gave convincing proof of the advantage his study 


_ had been to him in pictures he painted for the 


churches of the different towns in Switzerland. 
He painted pastoral subjects in fresco on the 


ceiling of the concert-room at Zurich. His his- 


torical pictures are well composed, correctly drawn, 
and vigorously coloured. He died in 1729. 
BRANDES, Grore HerInricuH, was born at Bort- 
feld, in Brunswick, in 1803, and learned the rudi- 
ments of painting under the guidance of F. 
Barthels at Brunswick. From 1823 to 1825 he 
attended the Academy of Munich, where he first 
devoted himself to historic painting under the tuition 
of Cornelius, but afterwards turned his attention to 
landscapes. On quitting the Academy he pro- 
ceeded to the Tyrol. His pictures from the 
Bavarian mountains won him a reputation by their 
grandeur of disposition and effective colouring. 
In 1830-31 he visited Italy, and passed much of 
the time in Rome. On his return he settled down 
in Brunswick, and became a teacher of painting 
and design as well as gallery inspector at the 
Ducal Museum. In 1845, together with Neumann, 
he restored the old mural paintings in Brunswick 
Cathedral. He died at that city in 1868, The 
following are among his most important works: 


View near Rome. 

Subiaco. 

The Inundation. 

Landscape in the Harz Mountains during a Thunder- 


storm. 
View near Salzburg (in the New Pinakothek at Munich). 


BRANDI, Domenico, a painter of birds, animals, 
and landscapes, was born at Naples in 1683, and 
died in 1735 or 1736. He was painter to the 
Viceroy of Naples. In the Madrid Gallery is a 
landscape with herdsmen and cattle by him; the 
Bordeaux Museum also has a landscape attributed 
to him. 

BRANDI, Giacinto, was born at Poli, near 
Rome, in 1623. He was first a scholar of Giovanni 
Giacomo Sementi, of Bologna; but he afterwards 
studied under Lanfranco. .In the early part of his 
life he painted some admirable pictures in the 
style of that master, but from his love of pleasure 
and expense he was frequently obliged to finish 
his works in a negligent way for the sake of 
despatch. In his best pictures we find a grand 
style of composition, a firm and free handling, a 
fine character in his heads, and even a vigorous 
colour. This is not, however, the case with the 
majority of his pictures, which are frequently 
feeble in effect and incorrect in design. He was 
head of the Academy of St. Luke, and was made 
a knight of the order of Christ. His principal 
works at Rome are, ‘The Assumption of the 
Virgin, with St. John the Baptist, St. Silvester, and 
other Saints,’ painted in the vault of San Silvestro ; 
at the principal altar of the church of Gest e 
Maria al Corso, ‘The Crowning of the Virgin;’ 
the vault of the church of San Carlo al Corso, 
representing ‘The Fall of Lucifer;’ in the church 
of San Rocco, ‘St. Roch giving the Sacrament to 
the Plague-stricken.’ He died at Rome in 1691. 
The Dresden Gallery possesses by him a ‘ Dedalus 
and Icarus,’ and ‘Moses with the Tables of the 
Law,’ and in the Belvedere, Vienna, is a picture of 
‘Paul and Anthony, the first Hermits,’ by him, 

BRANDMULLER, Gerore, an eminent Swiss 
painter, was born at Basle in 1661. He was the 
son of a member of the council, and his father 
possessing a collection of drawings and prints, 
Brandmiiller evinced an early inclination for the 
art by copying some of them, and he was placed 
under the tuition of an obscure painter named 
Gaspar Meyer. When he was seventeen years of 
age he was sent to Paris, and had the advantage 
of studying under Le Brun, who found sufficient 
ability in his pupil to employ him to paint from 
his designs, in the works he was then engaged in 
at Versailles, and this he accomplished to the entire 
satisfaction of his master. On his return to Swit- 
zerland he was invited to the Court of Wiirtemburg, 
where he met with great encouragement. His 
genius was equal to the composition of grand 
historical subjects, which he treated with nobleness, 
and painted with great spirit and fire. One of 
his most esteemed works is a ‘ Descent from the 
Cross,’ in the church of the Capuchins at Dornach. 
He also excelled in portrait painting, which he 
rendered more than usually interesting by the 
introduction of analogous and historical attributes. 
This artist is regarded in Germany as one of the 
ablest painters of his time, and probably would 
have left behind him a still more brilliant reputa- 
tion if his talents“~had been permitted a longer 
career, but he died when still young in 1690. 

BRANDT, —, a native of the Hague, who flour- 
ished about 1683, was a pupil of G. Netscher, and 
showed great talent in the manner of his master, 
but died at his birthplace in the flower of his age. 

BRANDT, AuBerrus Jonas, born at Amsterdam 
in 1788, was a scholar of J. E. Morel, after whose 
death in 1808 he passed two years with G. eit Os. 


NEES STEAD eigen OA Tae Tain te ee aan a 
Se Te po RN Pe oe Ps ee ae eee 
- ‘ ™~) oes ba . os 


He painted dead game, fruit, and flowers. His 
works are deservedly esteemed. He died at 
Amsterdam in 1821. 

BRANDT, R., a German engraver, flourished 
about the year 1660. His name is affixed to a 
middling-sized upright plate, from his own design, 
representing ‘The Virgin and Infant Christ, with 
St. Joseph and an Angel.’ It is etched in a style 
resembling that of Benedetto Castiglione, but the 
drawing is incorrect. 

BRANSTON, ALLEN Ropert, the son of a 
copper-plate engraver, was born at Lynn in 1778. 
When he was of age he went to London, and took 
lessons in wood-engraving, in which he quickly 
rivalled the best artists of theday. He illustrated 
Bloomfield’s ‘ Wild Flowers,’ published in 1806, a 
‘History of England,’ published by Scholey, and 
other works. His best engraving is ‘The Cave of 
Despair’ in Savage’s ‘ Hints on Decorative Print- 
ing.” He died in London in 1827. 

BRANWHITE, Cuarzes, who was born in 1818, 
was a native of Bristol, and a pupil of his father, 
a miniature painter. He formed a friendship with 
William Miller, with whom he studied, and by 
whose style he was much influenced. He fre- 
quently exhibited at the Society of Painters in 
Water-Colours, of which—at his death, which 
occurred in 1880—he had been a member for some 
years. His works are chiefly landscapes. 


The Environs of an Ancient Garden.) Recetved prizes 
1852. -from Glasgow 

A Frozen Ferry. 1853. Art Union. 

Ferry on the Thames (London Univ. Exh. 1862). 


BRASCASSAT, Jacques RAyMoNnD, was born at 
Bordeaux in 1805. He studied under Richard and 
Hersent. The Duchess de Berry presented him 
with £1000, to enable him to pass five years in 
Italy. In 1830 he turned his attention to animal 
painting, following the style of Paul Potter. He 
gained in 1828 a second class medal, and a first 
class in 1831; he was also made a Chevalier of the 
Légion d’ Honneur in 1837, and became a member 
of the Institute in 1846. He died in Paris in 
1867. The Louvre possesses a ‘Bull’ by him, 
signed and dated 1842, and a ‘ Landscape with 
Animals’ of the year 1845; and three Landscapes 
are in the Bordeaux Museum. 

BRASCH, M., was a genre painter who lived in 
the first half of the 18th century. He was at one 
time a pupil of Peter Horemans in Munich, but 
lived subsequently at Augsburg. He painted 
hunting scenes and conversation pictures; the 
latter in the manner of Horemans. 

BRASSAUW, MEtcuior, a native of Antwerp, 
flourished in the eighteenth century. A picture of 
‘The Prodigal Son,’ in the Amsterdam Gallery, 
bears his signature. 

BRASSEUR, ANToINE, painter, was born at 
Lille in 1819, and brought up at the Comtesse 
Foundling Hospital. He gained a wide reputation 
as a restorer of pictures, following his calling at 
Cologne. On his death, in 1886, he left his large 
collection of pictures to the museum of his native 
town. 

BRAUN, ApAam JOHANN, was born at Vienna in 
1750, and was from 1789 a member of the Academy 
of Arts of his native city. He painted genre pic- 
tures in the style of Gerard Dou and Mieris ; as 
well as portraits, among others that of a ‘ Lady at 
the Work-table,’ (signed and dated 1785,) which 
is in the Belvedere at Vienna. He was also a 

190 


A BIOGRAPHICAL DICTIONARY OF 


clever restorer of paintings. He died at Vienna — 


in 1827. 
BRAUN, AvcustTin, (or BRuN,) was a painter 
and engraver who was born at Cologne about 1570, 


and died later than 1627. Of his works there are : 


mentioned : 


PAINTINGS. 


Cologne, Wallraf Museum, The Martyrdom of St. 


Febronia; Church of S. George, Seven Pictures from — 


the Passion ; St. Mary in Capitol, Seven Pictures 
from the Life of St. Martin. Dresden, Gallery, 
Scenes from the Life of the Virgin—and of Christ. 


ENGRAVINGS, 


37 Scenes from the Life of the Virgin Mary; after 
Albrecht Diirer and others. St. Peter in a Ship with 
ee 1596. A Memorial in form of an Altar, 


BRAUN, BarrHELemy, a French historical paint- 
er, was a native of Lorraine. He was working at 


Nancy in 1583, and became painter in ordinary to 


the Duke of Lorraine. 
BRAUN, Casper, who was born in 1807 at 


Aschaffenburg, first studied painting in the Munich 


Academy, and then turned his attention to wood- 
engraving, in which he received instruction from 


Breviéres in Paris and Dessauer in Munich: and 


in this branch of art he was very successful. He 
died in 1877. 

BRAUNGART, J., a painter of landscapes and 
architecture, was born at Rottenacker, in Upper 
Swabia, in 1803, and died in 1849 at Esslingen. 


He has left some elegant productions, including — 


views of the Frauenkirche at Esslingen and land- 
scapes in the Tyrol. 

yx BRAUWER. See Brouwer. 

' BRAUWERE, Ds. 
BROUWER. 

BRAY. See Dz Bray. 

BREA, Lopovico, a native of Nice, flourished 
about 1500. There are some of his works still to 
be seen in the churches in Genoa and the neigh- 
bourhood, which have remained nearly as fresh as 
when they were first painted. In Sant’ Agostino 
is one of his best works, representing ‘The Murder 
of the Innocents,’ and a ‘Coronation of the Vir- 
gin’ (1513) is in Santa Maria di Castello. His 
pictures are generally signed with his name, and 
are dated from 1483 to 1513. According to Soprani, 
his works are well composed for the time, and his 
figures tolerably drawn and gracefully turned. 

BREBES, J. B., was a French engraver, who 
executed in a neat style some plates after the 
designs of Ant. Desgodetz for the work entitled 
‘Les Edifices de Rome,’ which was published in 
1682. He also engraved some plates after Sébas- 


tien Bourdon, and other painters, but they are very __ 


indifferent. 

BREBIETTE, Pierre, a French painter and 
engraver, was born at Mantes in 1596. He studied 
under Lallemand, in his youth travelled in Italy, 


became painter to the king in 1637, and died in | 


Paris between the years 1638 and 1650. He is said 
to have been a painter of some celebrity, but his 
works in painting are now unknown. Among 
other works he engraved several plates from his 
own designs, which are composed in a very agree- 
able style, and etched in a spirited and masterly 
manner. He marked his prints with the letters 


PB enclosed within a heart thus a: The fol- 


lowing are his principal works: 


See DE BRAUWERE, also ~ 


ee Shae on) | 


7 SUBJECTS FROM HIS OWN DESIGNS, 

erre Brébiette, Calcographus, in a Border, with two 
Angels. Francois Quesnel, Pictor, with two figures 
_ of Painting and Fame. A set of various subjects; 
inscribed Opera diversa a Peter Brebiette inventa, 1638. 
_ The Nativity. The Adoration of the Magi; an un- 
J _ finished plate. The Virgin Mary kneeling before 
the Infant Saviour, with two Angels. The Virgin, 
with the Infant Jesus sleeping. The Virgin, with 
he Infant crowned. Several Saints kneeling before 
the Virgin. The Conversion of St. Paul. The 
Martyrdom of St. Catharine. The Martyrdom of 
St. Sebastian. The Combat of the Lapithz; a frieze. 
‘The Death of the Children of Niobe ; a frieze, 1625. 
Thetis at her Toilet; afrieze. Sacrifice to Ceres; a 
frieze. Orpheus surrounded by Animals. Four oval 
plates of the Seasons. Ten friezes, of Bacchanalian 
subjects. Twelve friezes, of ditto; after various 
masters. Four friezes, of Marine Gods, The Holy 
Family, with St. John; after Raphael. The Holy 
_ _ -Family, with St. John; after Andrea del Sarto. The 
_ Martyrdom of St. George; after Paolo Veronese. 
Paradise; after Palma; a grand composition, in two 
sheets 3 fine. 


BRECK, Jean Mantz pz, a French historical and 
portrait painter, was born at Bréce about 1502. 
—¢ This very skilful artist, who was likewise an en- 
_ graver, flourished in Paris in 1530, and was em- 
_ ployed at the Carmelite convent of Bréce in 1534. 
~ BRECKELENKAMP (Brecx.inkay, &c.). See 
_ BREKELENKAM. SAS 
BREDA, Cart FRepriIk VoN, painter to the 
_ Swedish Court, was born at Stockholm in 1759. 
_ He was a pupil of Reynolds, and distinguished 
_ himself especially in portrait painting, on account 


+ 


_ of which he obtained the sobriquet of ‘the Van 
_ Dyck of Sweden.’ He obtained much praise for 
' his ‘Four Presidents at the Reichstag of 1810,’ 
and the portrait of Lagerbring, at the Ritterhaus 
in Stockholm. His ‘ Belisarius”*-is another of his 
best paintings. He died in 1818. His son JoHAN 
_ Freprik Brepa, born in London in 1788, died at 
Stockholm in 1835, was also a painter. 

_  BREDAEL. The following tabie shows the 
~~ relationships of the various members of this family 
of artists. According to Kramm, the form Brepa 
is an error, but a picture in the Amsterdam Gallery, 
_ ascribed to Jan Frans van Bredael, is signed I 
. BREDA F; 
: Willem van Bredael. 
Pieter, 1622—1719. 


Jan sae 1654?—1733. Alexander, d. 1720. George. 


Jan Frans, 16883—1750. 
~ Frans. 


BREDAEL, ALEXANDER VAN, (not BreDA,) was 
a native of Antwerp, who painted Italian views, 
fairs, and markets with figures and cattle, which 
were held in some estimation at his time. He died 
in 1720. A ‘Féte in Antwerp’ signed ALEXANDER 
VAN BREDAEL. F. is in the Lille Gallery. 
BREDAEL, Jan FRANs VAN, (not BrepDA,) the son 
_ of Alexander van Bredael, was born at Antwerp in 
1683, and was instructed in art by his father. He 
attached himself to study and copy the works of 
Philips Wouwerman and Jan Brueghel, and was the 
most successful of the imitators of the former. He 
visited England with Rysbrack the sculptor. His 
pictures became in vogue, and after a residence of 
a few years he returned to Flanders amply re- 
| munerated for his labours. In 1726 he was made 
| director of the Academy of St. Luke at Antwerp. 
_ When Louis XV. made his entry into Antwerp in 


\ 


PAINTERS AND ENGRAVERS. 


1746, he was pleased with the works of this artist, 
and ordered four of them to be purchased for him; 
and the example was followed by many of the 
attendant courtiers, who liberally paid for all the 
pictures he could finish. The works of Bredael 
have little claim to originality, being entirely com- 
posed and painted in undisguised imitation of 
Wouwerman ; but he never came near his model, 
either in the purity of his colour or the exquisite 
touch of his pencil. His skies and distances are 
as blue as the admirers of gaudiness can wish them. 
The Dresden Gallery has two works by him—a 
‘ Horseman having his Steed shod,’ and a ‘ Hawking 
Party ;’ a ‘Military Camp’ by him is in the Louvre, 
and a ‘View of a Village’ is in the Amsterdam 
Gallery. He died at Antwerp in 1750. 

BREDAKL, Jozur van, a Flemish painter, born 
at Antwerp, August 14, 1688, painted landscapes, 
but was best known as a copyist of the works of 
Brueghel, Wouvermans, and others, for the picture- 
dealer Jacob de Witte. In 1736 he settled in Paris, 
where he became painter to the Duke of Orleans. 
He died in Paris in 1739. There is a river land- 
scape by him in the Rijks Museum at Amsterdam. 

BREDAEL, Pierer van, was born at Antwerp 
in 1622, and entered the Guild in 1650. It is not 
said under whom he learned the art, but he imi- 
tated the works of Jan Brueghel, in whose style 
he painted small landscapes, with figures neatly 
touched and well coloured. He passed some time 
in Spain, where his pictures were much admired. 
From the objects he introduced into his landscapes, 
it is very probable he had been in Italy, as they 
represent the ruins of architecture in the environs 
of Rome. He died at Antwerp in 1719. The four 
works attributed to him in the Vienna Gallery 
are stated to be by another painter. Two Italian 
landscapes with figures by him are in the Academy 
at Bruges, and one is in the Hague Gallery. 

BREE, Marrueus Ienatius vAN, born at Ant- 
werp in 1773, was instructed by Regemorter; he 
afterwards went to Paris, and after having obtained 
by a ‘Cato in Utica’ the second prize for Rome, 
he went to that city in 1797—returning to his na- 
tive country in 1804, His conceptions are fre- 
quently poetical, and his compositions graceful, 
delineated with a light, free, and spirited pencil ; 
but his colouring is rather too florid in some 
instances. Among his most important works are 
‘The Patriotism of the Burgomaster Van der 
Werft,’ in the Town-Hall at Leyden, and ‘The 
Death of Rubens,’ in the Museum at Antwerp. 
He brought forward some of the most eminent 
of the later Flemish painters, among whom are 
Wappers and De Keyser. Van Brée died at 
Antwerp in 1839, 

BREE, Paiierus Jacopus vAN, scholar of his 
brother Mattheas, was born at Antwerp in 1786. 
He studied at Antwerp, in Paris (where he became 
a scholar of Girodet), and at Rome; and also 
visited Germany and England. He employed 
himself on historical, fancy, and architectural sub- 
jects. Of the last, the Belgian Government pur- 
chased his ‘ View of the Interior of the Church of 
St. Peter at Rome,’ and presented him with a gold 
medal in addition to the price. He was made 
conservator of the Museum at Brussels, where he 
died in 1871. 

BREEMBERG. See BREENBERGH. 

BREEN, GisBert, or CLAES, VAN, a Dutch en- 
graver, flourished about the year 1600. His then 


A BIOGRAPHICAL DICTIONARY OF 


are executed entirely with the graver, in a neat 
manner, resembling the style of Jacob de Gheyn, 
but inferior in every respect, though not without 
considerable merit. We have the ea ee 5 plates 
by him: 

The Portrait of James I., with the Queen and Prince of 
Wales. 

Six, of subjects from the Lives of young Libertines; C. 
V. Breen f. 

A Woman carrying a Basket of Eggs to Market, with a 
Man with a Basket of Fowls; after Claus Cock. 

A Man and Woman walking, followed by a figure of 
Envy ; after the same. 

An Ass that is washed recompenses the trouble by 
kicking and biting; C. van Mander pinz. G. ». 
Breen se. 

Two young married Persons dissipating their Dower ; 
the same. 

The Companion, representing them reduced to Misery ; 
the same. 

A Concert; after Sbrassen. 

BREENBERGH, BArtTHoLomeus, (or BREEM- 
BERG,) an eminent Dutch painter, who was known 
in France and Italy by the name of BARToLomE, 
was born at Utrecht about 1620. The name of his 
instructor has not been recorded, but he studied 
the works of Poelenburg with great assiduity, and 
he was ranked among the most promising artists 
of his country before his departure for Italy, where 
he lived the greatest part of his life. The environs 
of Rome are so many living pictures for the con- 
temptation of the artist; and the beautiful sites of 
Albano, Frescati, and Tivoli are naturally the 
haunts of the intelligent landscape painter. This 
delightful scenery furnished the subjects of his pic- 
tures, which he decorated with figures, generally 
representing some subject of Bible history. There is 
an elevated style in the arrangement of his works, 
and he seems to have inhaled the taste of Italy 
with the atmosphere he breathed. In some of his 
works he imitated Titian and the Carracci. His 
pictures have nothing of the characteristic vulgarity 
of his country. His best works are small; when 
he attempted a larger scale he was less successful. 
There is great suavity in his colouring, and his 
pencil is exquisite and delicate. He was still 
living in 1663. Of his works, which are seen in 
many European galleries, we may notice three Land- 
scapes with Ruius, in the Dulwich Gallery ; six 
landscapes (some with subjects introduced) in the 
Louvre ; a ‘Monk praying’ in the Munich Gallery ; 
a ‘ Landscape with Ruins and Cattle’ at Vienna ; 
and ‘Joseph selling Bread during the Famine in 
Egypt’ (signed and dated 1644) in the Dresden 
Gallery—a good example of his historical pictures. 
Breenbergh also etched several plates from his 
own designs with great spirit and intelligence ; 
they are highly esteemed, and good impressions of 
them are now scarce. He usually marked his 
plates with the initials of his name, with an J’ for 
Jecit, thus, B. B. F. One of his plates is marked 


with the cipher We have by him: 


Twenty-four of oe with Ruins, Figures, and 
Animals; inscribed Verschiden verfallen Gebouden, 
with his portrait. 

Another set of twelve; entitled Antiquities of Rome. 

A Landscape; marked ‘with the above- mentioned cipher. 

Joseph delivering Corn in Egypt; inscribed Hrat fames, 
&e.; B. B. F. 

The Martyrdom of St. Laurence ; same mark 


BREGEON, ANGELICA, an ingenious lady, was, 
according to ‘Basan, the wife of Jean Baptiste 


Tillart, a French engraver. She executed some 
192 


plates with the point and graver, among which i yi 
a print representing a youth drawing, after Carle — 


van Loo. 
BREKELENKAM, Quiryn, (or BREKLINKAM, 


not BREKELENCAMP, nor BRECKELENKAMP,) a Dutch — 


painter, was born probably at Swammerdam, near 
Leyden. He was a scholar of Gerard Dou, though 
he did not attach himself to the high finishing 
of that master, but adopted a style formed on a 
mixture of the manner of Dou with that of Rem- 
brandt. He was established at Leyden in 1648, in 


which year he was received into the Guild of St. 


Luke, and in that city he spent the remainder of 
his life. He had two wives and nine children. 
His signed works extend from 1653 to 1669. His 
pictures represent the interior of Dutch cottages, 
with figures. There is a very natural expression 
in the airs of his heads, his touch is light and 
spirited, and he was well acquainted with the prin- 
ciples of chiaroscuro, His works are found in 
the choicest collections in Holland, and are held in 
considerable estimation in this country. The fol- 
lowing are some of his principal works: 


Amsterdam. Jfuseum. Interior. 
= me The Fire Corner. 1664. 
- a The Mouse-trap. 1668. 
as Six Coll. The Three Ages. 
Augsburg. Gallery. The Coppersmith. 1654. 
Berlin. Gallery. The Vegetable-seller. 1661. 
Brunswick. Gallery. Old A with Vegetables; and 
others. 
Paris. Louvre. A Monk writing. 
> _ The Consultation. 
chang aac A Hermit. 1660. 


The Disappointed Drinker. 
BREMDEN, yee: VAN, who flourished at the 
Hague in the first half of the 17th century, was a 
Dutch engraver of little note. He worked with 
the graver in a neat but tasteless style. There is 


a small plate by him of ‘Ladies and Gentlemen | 


at an Entertainment,’ after De Vlieger; besides 
some plates after A. van der Venne, and some 
portraits. 

BREMOND, Jean Francois, a pupil of roast 
and Couder, was born in Paris in 1807. He pro- 
duced some excellent portraits as well as historical 
pictures. His death occurred in Paris in 1868 
Among his paintings are: 

Portrait of his Daughter. 

St. Francis of Assisi. 

St. Catharine of Alexandria. 

The Entry of Christ into Jerusalem. 

Susannah in the Bath. . 

BRENDEL, HernricH ALBERT, who was porn at 
Berlin in 1827, studied in the academy of his native 
city, and under Wilhelm Krause. In 1851 he went to 


Paris, and studied under Couture and Palizzi; thence 


to Italy, and home to Berlin in 1853, completing 
his studies under Steffeck. For the next ten years 
he resided principally in Paris, and worked in the 
summer months at Barbison, in the forest of Fon- 
tainebleau, which was also the scene of the labours 
of Millet, Rousseau, Diaz, Troyon, and other artists; 
and he continued, till 1869, to visit Barbison in the 
summer, after he removed in 1865 to Berlin for 
the winter. In 1868 he was made a member of 


the Berlin Academy, and in 1875 became Professor 


at the Art School of Weimar. He died in 1878. 


His first works were sea-pieces, but he afterwards 


devoted himself to animal painting (more especi- 
ally horses and sheep), in which he was very suc- 
cessful. He received medals at various exhibitions 
at Paris, Berlin, Munich, Vienna, and Nantes. 


wre 


_ Gallery. Return to the Village. 
_ Luxembourg. Sheepfold at Barbison (exhibited 
at the Salon in 1863). 
_  BRENET, Nicotas Guy, a French historical 
painter, the son of Guy Brenet, an engraver, was 
born in Paris in 1728. He was admitted into 
the Academy in 1763, and became an Academician 
in 1769, on which occasion he presented his picture 
of‘ Theseus finding the arms of his father Aigeus,’ 
which, together with his ‘Generosity of Bayard,’ 
is now in the Louvre. There are likewise some 
- paintings by him at Versailles. He also etched 
two plates, which are now very rare. Brenet was 
_ one of the first masters of Baron Gérard and of 
- Taunay: he was nominated assistant-professor in 


died in Paris in 1792. 
BRENNAN, Micuar. G., who was born at 
__ Sligo, studied in the schools of the Royal Dublin 
_ __ Society and of the Hibernian Society, and subse- 
quently in Italy. He exhibited for some years at 
___the Royal Academy. He died in 1871 in Algiers. 
_ Inthe Dublin Gallery are two views at Capri by 
mi. him. ‘ 
_  BRENTANA, Simone, was born at Venice in 
1656, but resided principally at Verona. He 
_ formed his style by an assiduous study of the 
works of Tintoretto, whose bold and vigorous 
manner he preferred to more finished and laboured 
productions. To the fire of Tintoretto he added 
_ something of the dignity of the Roman school. 
__ Few of his pictures are in private collections, as 
____ he was chiefly employed by the sovereigns of his 
time, and for the churches. One of his finest 
pictures is ‘The Martyrdom of St. Sebastian, who is 
_ erowned by an Angel,’ in the church dedicated to 
that saint. 
-  BRENTEL, Friepricu, a German engraver and 
___-‘ miniature painter, was born at Laugingen in 1580, 
and became a citizen of Strassburg in 1601. His 
principal work is a set of plates for ‘The Funeral 
a of Charles III., Duke of Lorraine,’ published at 
—~ Nancy about 1610. They are from the designs of 
Claude de La Ruelle and Jean La Hire, and are 
-__ etched in a slight, spirited manner. Other notice- 
able plates of his are a ‘ View of the large Hall at 
Stuttgart’ (1619), and ‘John Frederick I., Elector 
of Saxony’ (1609). He died at Strassburg in 1651. 
The prints of Brentel are etched with a very light 
oint; and his monogram is found on a series of 
andscapes ornamented with historical subjects and 
rich borders, and bearing the dates 1617 and 1619. 
There are proofs of these borders without the land- 
scapes and figures. 

BRESCIA, GiovANNI ANTONIO DA, was an en- 
graver of the 15th and 16th centuries, and is said 
to have been a brother of Giovanni Maria da 
Brescia. It is probable that he learned engraving 
in the school of Andrea Mantegna, as his plates 
are executed precisely in the style of that artist, 
though they are neater and more finished. He 
wanted, however, his instructor's correctness of 
drawing. His attempt to imitate Albrecht Direr 


was without success. He en- rY, 
- graved thirty-seven plates, which 6. A: B’ 
he signed with the cipher 
The following are the most important: 
The Virgin suckling the Infant Jesus; Jo. An. Br. 
The Virgin adoring the Infant, St. Joseph sleeping; 
same mark. 
The Scourging of Christ; Jo. Anton. Brixian. 1503. 
me are second impressions of this plate; dated 


a 


the Academy in 1773, and professor in 1778. He’ 


PAINTERS AND ENGRAVERS. 


Hercules and Antzus; Jo. An. Bz. 

Hercules strangling the Lion; inscribed D. Here. invicto. 

A naked Woman and Child, with a Satyr playing on a 
Pipe; marked 1507; Jo. An. BX. 

A white Horse, the same as that engraved by Albrecht 
Direr; J.A. Brix. 1505: . 

A grotesque; below, a Satyr and a Woman; inscribed, 
Victoria Augusta; Jo. An. 

A Holy Family, with SS. Elisabeth and John; after 
Mantegna. 

An Entombment ; copy after the same. 

Mary with Saints; after Raphael. 


BRESCIA, Fra GiovANNI Maria DA, was born at 
Brescia in the latter part of the 15th century. He 
was brought up a goldsmith, a profession at that 
time connected with the arts; and, after studying 
painting and engraving for some time, he became 
a monk of the order of the Carmelites at Brescia, 
and painted several pictures for the church of his 
monastery, and in the cloister some fresco works, 
representing subjects from the history of Elijah 
and Elisha. He also engraved some plates, which 
are executed in a manner that appears to be a 
feeble mixture of the style of Marc-Antonio and 
Andrea Mantegna. We have by him the following 
plates: 


The Virgin and Infant Jesus, the Virgin holding a Book. 

The Virgin and Infant in the Clouds; a circular plate, 
with a Latin dedication and his name; Fr. Jo. Ma. 
Briz. Carmelita dicavit. M.D.II. 

St. Gregory resuscitating a Youth; inscribed opus Fr. 
Jo. Marie Brizensis or. Carmelitarum. M.CCCCC.ILI. 

The History of the Emperor Trajan; on a Balcony at 
the upper part of the plate is seen the Pope, and the 
words Divus Gregorius ; and at the top opus Fr.is Jo 
Marie Brizxensis or. Carmelitarum. M.CCCCC.II. 

Three Monks of the Order of the Carmelites. 1512. 


BRESCIA, LEONARDO, was, according to Barotti, 
a native of Ferrara, and flourished about the year 
1530. There are many of his pictures in the 
churches and convents of that city, the most es- 
teemed of which are ‘The Assumption of the 
Virgin,’ in the church of Il Gest; ‘The Annunci- 
ation,’ in the Madonna del buon Amore; and ‘The 
Resurrection,’ in Santa Monica. It is supposed 
that he died in 1598, Artists of the name of 
Brescia are very numerous; there are thirty so 
named in Zani. 

BRESCIANINI pa SIENA. See PUCCINELLI. 

BRESCIANINO peELLE BatrraGuiz, It. See 
Monti, FRANCESCO. 

BRESCIANO, Giovira, called BRESCIANINO, is 
said by Cozzando to have been a native of Brescia, 
and a scholar of Lattanzio Gambara, He was a 
reputable historical painter, both in oil and in 
fresco. He flourished about the year 1580. 

BRESCIANO, Gir. See SAvoLpDo, also Muzrano. 

BRESCIANO, Pierro. See AVOGADRO. 

BRESCIANO, Vince. See Foppa. 

BRESSANO, Gir. See Muziano. 

BRETEUIL, Jacques Laure, Comte de, a French 
nobleman, was a great amateur of the arts, who, 
according to Basan, between 1730 and 1750, etched 
several plates after Berchem and other masters. 

BRETHERTON, CuHarues, the son of James 
Bretherton, was born about the year 1760. At an 
early age he gave proof of the most promising 
talents as a designer and engraver. He executed 
several plates of portraits for Walpole’s ‘ Anec- 
dotes,’ as well as views and landscapes, which 
possess great merit ; and he produced some charm- 
ing drawings of his own composition, one of which, 
representing ‘ Kate of Aberdeen,’ was engraved by 
Tomkins. He died at an early age in 1783. 

193 


distinguished himself by several etchings an 
plates in aquatint, from the designs of H. W. 
Bunbury, and other masters, as well as from his 
own compositions. His works are dated from 1770 
till 1790. 

BRETON, Francois PierRE HIPPOLYTE ERNEST, 
a French artist and archeologist, was born in Paris 
in 1812. He studied under Regnier, Watelet, and 
Champin, and exhibited some landscapes at the 
Salon. He contributed to Gailhabaud’s ‘ Monu- 
ments anciens et modernes,’ and in 1843 published 
‘Monuments de tous les Peuples.’ His latest 
works were ‘ Pompeia,’ 1855; ‘ Athénes,’ 1861; and 
‘L’Alhambra,’ 1873. He died in Paris in 1875. 

BRETSCHNEIDER, ANpDREAs, a German en- 
graver, etcher, and designer, was born at Leipsic 
about 1578, and was working there up to 1640. 
Among his best engravings may be cited: 

A Nobleman in Spanish clothing. 

Christ on the Cross. 1601. 

Gustavus Adolphus on horseback. 

Eleven views of the Festivities at Dessau in 1614. 

Thirty woodcuts of Biblical Representations. 

BRETSCHNEIDER, Jo#Ann MICHAEL, who was 
born at Aussig, in Bohemia, worked at Prague in 
the early part of the eighteenth century, A 
‘Musical Entertainment’ by him is in the Pinako- 
thek at Munich. 

BRETT, JouN, marine painter, born in 1830, 


ees Dyes preg) oa Re 
> ia ane AB I0GR APHIC A 


RETHERTON, ee an English engraver, | of w ¢ n had | 
: Eng d ipaanes henge ih centu ya 


He was greatly influenced in early life by the | 
writings of Ruskin, and the whole Pre-Raphaelite | 


movement, as exhibited in his works, ‘ The Stone- 
breaker,’ shown in 1858, and ‘The Val D’Aosta,’ 
in the following year. 
attention to the sea-shore of the south of England, 
producing luminous skies and calm seas. Among 
his most powerful works we can name, ‘ Spires and 
Steeples of the Channel Isles’ (1875), 


about 3000, and among them may 

noticed the Palais de Gaillon, the arch 
Horloge at Rouen, and his engraving 
designs of Chenavard, Grandville, } 
Descamps, Fragonard, Girardet, ‘Frat 

Johannot, Raffet, Devéria, Gavarni, Gustave 
Bertall, and others. He died at Hyeres in 18 

BREW. See Brev. 

BREWTNALL, Epwarp Fnevestn ee born 
in 1846. As a painter in water-colours he exhibited ed 
first in 1868 at tthe Royal Society of British A rtis iS 
a picture entitled ‘Post Time.’ The following 
year appeared ‘Missing, and in 1872 ‘Chestnuts.’ 
He was elected a member of that Society in 1882. 
He made his first appearance at the exhibitions of 
the Royal Society of Painters in WatenColoare Sm 
1875 with four pictures, and in 1883 became a! ull 
member of the Society. His pictures there (ie 
hibited include—‘ When Love was Young "C1s78), " 
‘The Honeymoon’ (1880), ‘The Visit to th the Witch’ — 
(1882), ‘ Blue Beard’s Wife’ (1884), ‘The Ravens? _ 
(1885), ‘Where to Next ?’ (1886), ‘On the Wing 
(1888), ‘The Red Fisherman’ (1891), ‘The Shell? — 
(1894), ‘The Fisherman and the Genie’ (1897). 
and ‘La Vie de Bohéme’ (1900). He painted ako im 
in oils, and latterly contributed to the Royal — 
Academy among others the following—‘Merely — 
Players’ (1898), ‘On the Embankment’ toate | a 
and ‘The Inn by the Sea’ (1900). He died n_ 
1902. <— 
BREYDEL, Frans, was born at Anteoss in 1679, 


and was instructed by Rysbraek, the landscape x 


After 1870 he turned his | 
_ assemblies, and also portraits of a small size, 


*Mount’s | 


Bay’ (1877), ‘Cornish Lions’ (1878), and ‘ Britan- | 


nia’ Realm,’ bought by the Academy in 1880. 
His ‘Sere and Yellow Leaf? was exhibited in ne 
and he died in 1902. 

BRETT, JosepH WILL14y, the son of a A es 
man, was born in 1816. He was one of the com- 
petitors for the decoration of the Houses of Par- 
lament, and sent in a cartoon of ‘ King Richard 
forgiving the Soldier who shot him,’ which was 
unsuccessful. He died by his own hand at Chelsea 
in 1848. 

BREU, JOrG (or BREw, or PREW),—who flourished 
at Augsburg from about 1512 to 1530, and died 
there in 1536,—was a painter and draughtsman on 
wood, whose style was influenced by Hans Burck- 
mair. A Madonna and Child by him (formerly 
wrongly ascribed to Burckmair) is in the Berlin 
Gallery ; it is signed with his monogram, and bears 
the date 1512; and the ‘ Battle of Zama,’ by him, 
is in the Pinakothek at Munich. 

BREUGHEL. See BRuEGHEL, 

BREUIL. See Dusrevit. 

BREUKELAAR, HENpRIK, a Dutch artist of 
great promise, was born at Amsterdam in 1809, 
and was instructed by C. and J. A.Kruseman. He 
painted the picture of ‘Van Speyk at the tomb of 
De Ruyter,’ and others, which gained him the 
applause of his countrymen. His works are not 
numerous, owing to his early death, which occurred 
in 1839. 

BREVIERE, Lovrs Henri, born at Forges-les- 
Eaux in 1797, was a French wood-engraver, to 
Jerr is due the honour of having revived the art 


dealer, who first employed him to reproduce por- ~ 


painter. 


He painted conversations and gallant — 


agree- 

ably coloured and neatly touched. He passed a 
great part of his life at the court of Hesse-Cassel, 
where his works were much esteemed. He also | 
visited England. He died at Antwerp in 1750. 
The Dresden Gallery has two signed works by him. | 
BREYDEL, KaAret, called ‘ Cavalier Braga’ W 
was a brother of Frans Breydel, and was born at — 
Antwerp in 1677. He was.also a scholar of Rys- — 
braek, under whose instruction he remained three ~ 
years. He afterwards went to Italy, and on his 
return painted at Nuremberg, Frankfort, Cassel, — 
Antwerp, and Brussels, executing a number of © 
landscapes, and views of the Rhine, in the manner ~ 
of Griffier. He is more reputed as a painter of — 
battles and attacks of cavalry, which areingeniously — 
composed, and painted with spirit, after the manner ~ 
of Van der Meulen. The Museum of Brussels has 
two ‘Cavalry Skirmishes’ by him, and the Uffizi, — 
Florence, two small landscapes, and the Cassel — 
Gallery a ‘ Paradise’ and a landscape. He died at 
Ghent in 1744. | 

BRIARD, GasRIEL, was a landscape and por- — 
trait painter of some grace and facility of hand, © 
the master of Demarne, and the father of Mme. ei 
Le Brun. He visited Italy in 1749, became an ~ 
Academician in 1768, and died in 1777. q 
BRICART, Ciatpe, a French engraver, who 
flourished about 1730. He executed several plates — 
after J. B. Santerre and others. ; 
BRICCIO. See Brizzt. . | 
BRIDELL, FrepErick LEE, was born at South- 
ampton in 1831. He very early showed a © 
talent for painting, and at the age of fifteen 
began life in his native town as a portrait painter. 
Some of his works attracted the notice of a picture- 


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% 4 raits, and then sent him to Munich and other 
_ continental cities to copy the works of the great 
_ masters. On his return to England he sent, in 
_ 1851, a picture, ‘A Bit of Berkshire,’ to the exhi- 
bition of the Royal Academy. This was followed 
_ by ‘ Mountains of the Tyrol’ in 1856. Soon after- 
_ wards he went to Rome, where he married in 1858 
_ the daughter of Mr. W. J. Fox, at that time 
member for Oldham, a lady of much artistic talent, 
_ In the following year he exhibited his finest work, 
_ *The Coliseum by Moonlight,’ which was after- 
_ wards included in the International Exhibition of 
- 1862. His other important paintings were ‘The 
_ Temple of Love,’ from Spenser’s ‘ Faerie Queene,’ 
_, and ‘ Sunset on the Atlantic.’ He worked with too 
- much energy, and died of consumption in 1863, 
_ After his death forty of his best paintings were 
_ gold at Christie’s, some of them realising £1000 


each. 
_ BRIDGFORD, Tuomas, an Irish portrait and 
_ subject painter, was born at Dublin in 1812. He 
_ studied and for a short time painted portraits in 
- London, and for many years exhibited portraits 
and figure subjects at the Royal Academy (W. 
_ Mulready, R.A., and A. Cooper, R.A., in 1842). 
j In 1844 he returned and settled at Dublin, where 


_ He died on the 21st November, 1878. Amongst his 
works are: 
The Arrest of Sir H. Slingsby. 
An Trish Wake. 
_ The Deserter. 
- . Golden Moments. 
_ Passing Shadows. 
BRIERLY, Sir OswaLp WALTER, marine painter, 
son of a doctor was born at Chester on the 19th of 
' May,1817. Heleft the Academy of Henry Sass in 
Bloomsbury to study shipping at Plymouth, exhibit- 
_ ing first at the Royal Academy in 1839. Two 
years later he started round the world, settling for 
some years at Auckland. In 1851 he returned to 
- England and accompanied the Allied fleets to the 
_ Baltic, and the Prince of Wales on his Nile tour. 
-_ He also sailed with the Duke of Edinburgh in 
_ 1867-8, on the Galatea’s trip round the world. 
ae ‘Blake going on the Resolution’-is his greatest 
work. He ceased exhibiting at the Academy in 1872, 
when elected member of the Royal Water-Colour 
Society. Appointed Marine Painter to Queen 
Victoria in 1874, he became Curator of the Painted 
_ Hall at Greenwich in 1881, was knighted in 1885, 
and died in London, 14th December, 1894. 
: BRIGGS, Henry PEeRRONET, was born at Wal- 
worth in 1792, or 1791. He was related to the wife 
of John Opie, and, possibly through his influence, 
entered the Academy Schools at an early age. In 
1814 he exhibited his first purtrait at the Academy. 
Four years later he attempted an historical picture, 
‘Lord Wake setting fire to his Castle to prevent a 
visit from Henry VIII,’ and soon afterwards 
‘Othello relating his Adventures.’ In 1826 he ex- 
hibited ‘The First Conference between the Spaniards 
and Peruvians, 1531,’ and in 1827, ‘ Juliet and her 
Nurse,’ both of which are row in the National 
Gallery. He was elected an Associate of the 
Academy in 1825, and was made an Academician 
in 1832. Henceforth his talent was so much in 
_ demand for portraiture that, against his own 
_ wishes, he abandoned historical painting in favour 
_ Of that more lucrative art. One of his finest works 
_ is ‘Lord Eldon receiving the Degree of D.C.L. at 
| Oxford.’ He died in London in 1844. His picture 


02 


Se ee 


PAINTERS AND ENGRAVERS 


of ‘George III. presenting the sword to Earl Howe, 
on board the “Queen Charlotte,” 1794,’ painted in 
1827, is now in Greenwich Hospital. 

BRIGHT, Henry, was born at Saxmundham, 
Suffolk, in 1814. He was at first apprenticed to a 
chemist at Woodbridge, and afterwards became 
dispenser in the Norfolk and Norwich Hospital. 
Here, having fallen in with John Bernay Crome, 


Cotman, and others of the Norwich School, he 


threw up his appointment, and entering on art as a 
profession, went to London, where he was soon 
after elected a member of the New Society (now 
called the Institute) of Water-Colour Painters, and 
became acquainted with some of the then leading 
artists—Stanfield, David Cox, Prout—and other 
celebrated men. He painted in oil as well as 
water-colours, exhibiting in the former medium 
for the first time at the Royal Academy in 1845. 
His pictures display great breadth and richness of 
colour, especially those depicting the banks of 
rivers. His snow scenes, o£ which he executed 
several, are very carefully painted. He died at 
Ipswich in 1873. 

BRIGSTOCKE, Tuomas, first studied in Sass’s 
studio, then in the Royal Academy Schools, and 
under H. P. Briggs, and subsequently under J. P. 
Knight. He also studied at Paris, Florence, Rome, 
and Naples, during eight years. He exhibited his 
first picture, ‘ Alnaschar, the Barber’s fifth Brother,’ 
at the Royal Academy in 1842. Five years later 
he went to Egypt with a letter of introduction to 
Mohammed Ali Pasha, by whom he was kindly 
received, and well employed in painting portraits 
of himself and his family. There Brigstocke spent 
sixteen months painting chiefly at the Palace of 
Shoubra, on the Nile, near Cairo, and at Ras el Tin, 
Alexandria. His chief portraits are: 


General Sir Wm. Nott, 2m the Town Hall of Calcutta. 

o pap veer » inthe Town Hall of Carmarthen. 
fa Fe Lalo », nthe Oriental Club, London. — 
Mohammed Ali, in the Palace of the Citadel, Cazro. 
4 “i in the Palace of Ras el Tin. 

We a in the Oriental Club, London. 
Cardinal Wiseman, tn St. Cuthbert’s, neaw Durham, 
General Sir J. Outram, in the Oriental Club, London. 
Sir Hy. Holland, M.D. 


He also painted an historical picture, entitled the 
‘Prayer for Victory.’ All the above pictures were 
exhibited at the Royal Academy. Brigstocke died 
in 1881, aged seventy-two. 

BRIL, Matruys, was born at Antwerp about 
1548. It is not known under whom he studied, 
but he went to Italy during the pontificate of 
Gregory XIII., by whom he was employed in the 
Vatican, where he painted in fresco several land- 
scapes, and had a pension settled on him by that 
pontiff. He would probably have reached a high 
rank in the list of landscape painters, but he died 
in the prime of life at Rome in 1584. The Louvre 
has two ‘Stag Hunts’ by him, and the Dresden 
Gallery has also two landscapes with subjects. 

BRIL, Pavtus, the younger brother of Matthys 
Bril, was born at Antwerp in 1556. He was 
first instructed in the art by Damiaen Ortelmans, 
and was himself employed in painting the tops 
of harpsichords, which were usually so ornamented 
at that period. The fame which his brother had 
acquired in Italy inspired him with the emulation 
of equalling him in reputation; and he thought 
the most probable means of success was to imitate 
his example, and to follow him to Italy. Passing 
through France, he was under the ee hd 


A BIOGRAPHICAL DICTIONARY OF 


of stopping at Lyons to recruit his exhausted 
finances by the exercise of his talent, and having 
- succeeded, he at length reached Rome, and placed 
himself under the instruction of his brother, But 
his best studies were made from the landscapes of 
Titian, some of which he had an opportunity of 
copying, and he began to distinguish himself by a 
style which, though founded on the great principles 
of that master, was sufficiently original to be con- 
sidered as his own. For some time he assisted his 
brother in his works in the Vatican, and on the 
death of that artist, the pension of the Pope was 
continued to Paulus; and, according to Baglioni, 
on the succession of Sixtus V. he was engaged in 
some considerable works in the Sistine Chapel, in 
Santa Maria Maggiore, and in the Scala Santa in 
San Giovanni in Laterano. He was not less 
patronized by Pope Clement VIII., by whose 
direction he painted his prodigious work in the 
Sala Clementina, a landscape of grand scenery, 
sixty-eight feet wide, in which is introduced the 
subject of St. Clement, with an anchor fastened to 
his neck, thrown into the sea. He also painted 
easel pictures of landscapes, some of which Anni- 
bale Carracci occasionally embellished with his 
admirable figures. Bril died at Rome in 1626. The 
following are some of his best paintings: 
Amsterdam, Gallery. The Ruins, © 
Antwerp ~ The Prodigal Son. 


Berlin. * Landscapes (four). 
Dresden. a Landscapes (two). 
Florence. Uffizi. A Sea-piece. 


oe Landscapes (nine). 
Pitti Pal, Landscapes (two). 


39 


39 
Madrid Gallery. Landscapes (four). 
Munich. Gallery. Landscapes (two). 
Paris. Louvre. Landscapes (e7ght). 
Petersburg. Hermitage. Landscapes (two). 
Rome. Palaces. Landscapes. 


Paulus Bril etched several landscapes in a 
masterly and spirited style, four of which are in 
the set published by his scholar Nieulandt. We 
have by him the following prints: 

Four Landscapes in the set published by WVieulandt. 

Two Landscapes ; marked Paulus Bril, inv. et fec., &e. 

A View in the Campagna, with Ruins; P. Bril fec 

1590. 

Another View in the same ; the companion. 

BRILLON, —, was a native of France, and, 
according to Basan, engraved several plates after 
Watteau and other French painters. 

BRINCKMANN, Puitipp HIERONYMUS, (or BRINK- 
MAN,) a German painter and engraver, was born at 
Spires in 1709. He was a pupil of J. G. Dathan. 
His favourite subjects were landscapes, but he also 
painted historical subjects and portraits; in some 
of the latter he imitated the force and colouring of 
Rembrandt. He was painter to the Court, and 
keeper of the Gallery at Mannheim, where he died 
in 1761. In the St&del at Frankfort is a ‘Swiss 
Landscape’ signed P. H. BRINcKMANN FEcIt, 1745. 
He etched some plates in a picturesque and 
spirited style. The following are his principal 
prints: 

Philipp Hieronymus Brinkman ; se ipse fec. 

David with the Head of Goliath. 1741. 

The Death of Pyramus. 

The Repose in Egypt ; Rembrandt inv. ; Brinkman fec. 

The Resurrection of Lazarus ; Brinkman fec. 

Mary Magdalene at the Feet of our Saviour. 

Christ and the Samaritan Woman. 


The Presentation in the Temple; P. J. Brinkman inv. 


et fec. 
Six pleasing Landscapes ; Ph. Brink. del. et fec. 


196 


‘ 


Raeter st 
BRION, GusTrave, was born at Rothau in the — 
department of the Vosges in 1824, and in 1841 _ 
entered at Strassburg the studio of Gabriel Guérin, — 
with whom he remained three years; he also 
received tuition from Andreas Friedrich, the 
sculptor; but he soon afterwards went to Paris, 
where his first work appeared at the Salon in 1847 ; 
it-was entitled ‘Interior of a Farm at Dambach.’ 
Six years later he gained a medal of the second 
class for his ‘ Sehlitteurs de la Forét-Noire’ and the 
‘ Potato Harvest during an Inundation,’ the former — 
of which was subsequently burned at Strassburg 
by the Prussians. His fame was further estab- 
lished by his ‘Le Train de Bois sur le Rhin’ in 
1855, and from that time his works continued to 
increase in public favour, and gained considerable 
praise and recompense for their author. Brion 
received numerous medals in 1853, 1863, 1867, 
1868, &c., and the decoration of the Legion of 
Honour in 1863. He died in Paris in 1877. With 
few exceptions, such as the ‘ Siege of a Town by 
Romans under Julius Cesar,’ painted on commis- 
sion for Napoleon III., and at the cost of much ~ 
research to the artist, Brion rarely indulged in ~ 
historical subjects. He delighted to represent 
peasants in their natural avocations: here they 
gather in their potatoes or chat by the village 
well; there they conduct barges laden with wood 
down the river; now we see them at a marriage, 
now hearing mass or attending a burial. Putting 


7 
aside several subjects drawn from Normandy and — 
Brittany, from the Basque Provinces, and from a — 
stay in Italy, Brion remained true to his love of © 
Alsace, and it is of the doings of her peasantry — 
that he tells us in his paintings. The following — 
are his principal works: a 
Interior of a Farm at Dambach, Salon, 1847 
‘Schlitteurs’ of the Black Forest, » 18539 
heron Harvest during an Inundation, ~ yg 1852 
Wood-Barge on the Rhine . op on 

(engraved by Jazet) Paris Exhibition, 1855 1 
Burial in the Vosges, Ss ES » = 
‘ La Féte-Dieu,’ ne A >» = 
The Miraculous Well, x A 3 ae 
Mountebank in the Middle Ages, Salon, 1857 _ 
Gathering Potatoes (in the Nantes Museum), e » = 
A Church Porch, » 18599 
Burial on the Rhine, ee » = 


The Skittle-Players, 95 >» 
A Protestant Marriage in Alsace (etched by Rajon) ,, 1861 


The Wedding Feast (etched by Bellin), a > = 
The Blessing, London Exhibition, 1862 — 
The Pilgrims of St. Odile, Salon, 1863 — 
The End of the Deluge, » 1864 — 
‘La Quéte au Loup,’ » 1864 
Reading the Bible in Alsace, » 1868 
A Wedding in Alsace, » 18748 
First Steps, » i1876@ 

The Réveil, Encampment of Pilgrims, » IL8iie 


Brion also illustrated ‘Les Misérables’ of Victor _ 
Hugo, and ‘Notre-Dame de Paris’ (see ‘Flemish 
and French Pictures,’ by F. G. Stephens). 

BRIOT, Anroinz, a French engraver, flourished - 
in the latter part of the 17th century. He engraved © 
a set of different habiliments, from the designs | 
of St. Igny. 

BRIOT, Isaac, a French engraver and draughts- 
man, was born in 1585, and died in Paris in 1670. 
His plates are rather neatly executed, in the style 
of Wierix, and mostly from his own compositions, 
but the drawing is defective. The following may 
be noticed : . 


PORTRAITS. 


Cardinal de Richelieu. 
Cardinal d’Amboise, archbishop of Rouen. 


bey Gaspard, Comte de Coligny. 
_ _The poet Francois Malherbe, in 4to. 
___ The poet Marini, in 4to. 


ex SUBJECTS. 
The Alliance of France with Spain. 
___ $t. John the Baptist in the Desert. 
St. Peter weeping. 
_ WOraison dominicale expliquée par des emblémes. Two 
small plates. : 
_ The Virtues. Seven small plates. 
‘The Sibyls. A set of small circular plates. 
ee “pes ‘Metamorphoses.’ A set of plates published 
Makzie Brior, daughter of Isaac, with her father, 
executed plates after Paul de La Barre, J. B. 
— Coriolan, gt. Igny, and others. 
_ BRISEGHELLA. See Eismann BRISEGHELLA. 
- __ BRISSART, P., was a native of France, and 
_ flourished about the year 1670. We have by him 
__ alarge print, representing a bird’s-eye view of the 
_ royal palace of Vincennes, from his own design. 
It is etched in a slight, neat style, but without 
much effect. He also engraved several plates 
__ from the works of Jean Baptiste Santerre. 
Y BRISTOW, Epmounp, an animal painter, was born 
___ at Windsor in 1787. He exhibited his works on one 
occasion only, viz., at the British Gallery. He 
_ was of an eccentric character, and little is known 
_ concerning him. Some of his works are in the 
i peor of the Queen, but a greater number 
_ belong to Mr. H. Ingalton, of Ventnor. He died 
at Eton in 1876. 
_— BRITANO. See Gust, Giov. Barr. 
BRITTON, JoHn, who became celebrated as an 
_ architectural draughtsman, was born in 1771 at 
Kingston St. Michael, in Wiltshire, where he passed 
the first few years of his life, attending the village 
school and assisting his father, who kept a general 
shop. In 1787 he went to London. In 1799 he 
___ exhibited some architectural drawings at the Royal 
___ Academy, and in 1801 he published the ‘ Beauties 
of Wiltshire,’ in two volumes, in which work he 
was assisted by Brayley. This was followed by 
the ‘ Beauties’ of all the other counties, the 
whole work being completed in twenty-six volumes, 
which took him twenty years to produce. In 1805 
he commenced his ‘ Architectural Antiquities of 
Great Britain,’ which was completed in five quarto 
volumes, containing 360 engravings. This was 
followed by his ‘Cathedral Antiquities of England,’ 
in fourteen volumes, folio and quarto, with 300 
_ engravings (1814—1835). In 1825, in conjunction 
with Augustus Pugin, he commenced ‘ The Archi- 
tectural Antiquities of Normandy,’ and in 1829 a 
‘Dictionary of Architecture and Archeology of 
the Middle Ages,’ besides several smaller books, 
including works on Norwich, York, Canterbury, 
and other cathedrals. He also contributed articles 
on British topography to Rees’s ‘ Encyclopedia.’ 
From 1845 till shortly before his death he was 
occupied upon his ‘Autobiography,’ which had 
nearly approached completion when he died in 
1857, in London. 
' BRIXIA. See Brescia. 

BRIZE, Cornetis, a Dutch painter of still-life, 
was born at Haarlem in 1635. His pictures repre- 
sent musical instruments, books, papers, &c., 
grouped in an ingenious manner, and painted 
with such uncommon truth that they become 
interesting, notwithstanding the insignificance of 
the subjects. He also painted armour, and imita- 
tions of bas-reliefs, but his pictures of the former 


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subjects are most esteemed, He died at Haarlem 
in 1679. 

BRIZIANO. See Guisi, Giov. Bart. 

BRIZIO, MENECHINO DEL, (or BRIzz1). 
AmeBroal, Dom. 

BRIZZI, Fiuipro, (or Briccro,) the son of Fran- 
cesco Brizzi, and scholar of Guido, was born in 
1603. In the church of San Silvestro at Bologna 
is an altar-piece by Brizzi, representing ‘The Virgin 
Mary, with St. John the Baptist and St. Silvester ;’ 
and in San Giuliano is a picture painted by him of 
‘St. Giuliano crowned by Angels.’ The Modena 
Gallery has an ‘Ecce Homo,’ He died in 1675. 

BRIZZI, Francesco, (or Briccio,) called Nosa- 
DELLA, an Italian painter and engraver, was born at 
Bologna in 1574. He studied at first under Barto- 
lommeo Passerotti, but was afterwards admitted 
into the school of Lodovico Carracci. In archi- 
tecture, perspective, and landscape he surpassed 
all his fellow-disciples. He approached Lodovico 
more Closely than any other artist. The graceful 
beauty of his cherubs excites admiration; and 
here, in the opinion of Guido, he outshone even 
Bagnacavallo. Inthe Pinacoteca at Bologna are 
a ‘Madonna and Child’ and a ‘Bacchus and 
Ariadne’ by him. In engraving he was instructed 
by Agostino Carracci, and he is said to have for- 
warded some of the plates of that master. His 
own prints, though nearly equal to Agostino’s in 
point of execution, are very inferior in correctness 
of drawing, and in beauty of expression. He 
died at Bologna in 1625. The following are his 
principal works as an engraver: 

A large Landscape, from his own design. 

St. Roch; after Parmigiano, 

The Holy Family ; after Correggio. 

The Return out of Egypt; after Lod. Carracct. 

Portrait of Cinthio Aldobrandini; after L. Carracct. 

A Frontispiece ; inscribed Explicatione del sacro lenzuolo. 

1599; after the same; scarce. 

Another Frontispiece; inscribed Tempio al Cardinale 
Cinthio Aldobrandint. 1579; after the same. 

Another Frontispiece, with the Arms of the Duke of 
Modena, and in the middle some Children; after the 
same. 1594; very scarce. 

St. Francis kneeling, holding the Infant Jesus, and the 
Virgin Mary in the Clouds; after the same. 

The Virgin Mary crowned, with the Infant Jesus, and 
two Angels; after L. Carracct. 

The great St. Jerome; the plate left imperfect by 
Agostino Carracct, finished by Brizzt. : 

Christ and the Samaritan Woman; after Ag. Carracct. 


1610. 
A Blind Man led by a Dog; after Annibale 


Carracct. 

BROCANDEL, See Rovira. 

BROCAS, Henry, born at Dublin in 1766, was 
well known as a landscape painter and as a draw- 
ing-master in the Dublin schools. He died in 
1838, leaving three sons, HENRY, SAMUEL, and 
Wi1114M, who all followed art as a profession in 
Dublin. 

| BROCKEDON, WituiAm, was born at Totnes, 
Devonshire, in 1787. He became a student at the 
Royal Academy in 1809, and in 1815 went to 
Paris to improve himself by painting at the Louvre. 
On his return he painted a picture on the subject 
of ‘The Acquittal of Susannah,’ which he presented 
to his native county, and which is now in the 
Crown Court at Exeter. He next painted ‘ Christ 
raising the Widow’s Son,’ for which he was awarded 
a prize of one hundred guineas by the directors of 
the British Institution. During his stay at Rome, 
in 1822, he painted ‘The Vision of the Chariots to 
Zechariah,’ which, by the Pope’s eee aegis ets 


See 


A BIOGRAPHICAL DICTIONARY OF 


exhibited in the Pantheon. He afterwards pub- 
lished various series of Landscapes, from sketches 
taken in his travels, as ‘The Passes of the Alps,’ 
‘Illustrated Road-Book from London to Naples,’ 
‘Excursions in the Alps,’ and ‘ Murray’s Hand- 
book for Switzerland.’ He last exhibited at the 
Royal Academy in 1836. He displayed no ordin- 
ary talent in the various departments of painting— 
historical, landscape, and portrait, which he com- 
bined in his practice. He died in London in 1854. 
He was a Fellow of the Royal Society, and member 
of the Academies of Rome and Florence. His 
portrait, by his own hand, is in the Uffizi; and a 
view of Laodicea, by him, is in the South 
Kensington Museum. 

BROCKY, CHaAruEs, who was born at Banat, in 
Hungary, in 1808, was the son of a hairdresser, 
who died whilst his son was still young. To gain 
a living the youth joined a body of strolling actors. 
After passing through many vicissitudes, he was 
at length placed in a free drawing school at Vienna, 
whence he went to Paris, where he studied at the 
Louvre. When about thirty years of age he visited 
London, where he took up his abode. His first 
contribution to the Royal Academy was in 1839, 
and from that time he exhibited portraits, ideal 
subjects, and miniatures on ivory somewhat fre- 
quently ; amongst others a ‘Nymph’ (in oil) in 
1850, and ‘Spring,’ ‘Summer,’ ‘Autumn,’ and 
‘Winter’ in 1852. He died in 1855. A sketch 
of his life by Norman Wilkinson was published in 
1870. 

BROECK, B., C., and E. VAN DEN 
DEN BROECK. 

BROECK, Mosrs Vyr DEN, or VEIT VAN DEN. 
See UYTENBROUOCK. 

BROEDELET, Jan, was a Dutch engraver of 
mezzotints, who flourished about the year 1700. 
We have by him ‘Cephalus and Procris,’ after 
Gerard Hoet. 

BROEDERLAM, Metcuior, (or BROEDERLAIN,) 
of Ypres, who was ‘painter and valet’ to Philip 
the Hardy, was born at Lille, and flourished about 
the year 1400. The work which brings this early 
master into notice is the painting on the wings of 
an altar-chest carved by Jacques de Baerse for the 
chapel of the Cartnusians at Dijon; principal parts 
are in the Museum of Dijon; the subjects repre- 
sented are ‘The Annunciation,’ ‘The Visitation,’ 
‘The Presentation,’ and ‘The Flight into Egypt.’ 
Broederlam’s painting is noticeable for simplicity 
and purity of character, and beauty of colour. 

BROEN. See De Broen. 

BROERS, Gaspar, was a Dutch painter of 
merry-makings and boorish frolics, into which he 
introduced much low humour and character. He 
was a pupil of Jan Baptist van der Meiren, and 
entered the Guild of St. Luke at Antwerp in 1694- 
95. He died in 1716. In the Dresden Gallery are 
two pictures, both signed I. BRorrs, 

BROMEIS, Avcust, a landscape painter, who 
was born at Wilbelmshohe in 1813, first studied in 
the academy of his native town, then at Munich, 
from 1831 to 1833, in which year he went to Rome, 
where he was much influenced by the style of J. A. 
Koch, Bromeis returned to Germany in 1848, and 
resided at Frankfort and Diisseldorf, and at Cassel, 
where he was made Instructor and Professor of 
Painting at the Academy in 1867. He died at 
Cassel in 1881, Among his most successful pic- 
tures, which are landscapes of an ideal character, 
are: 

198 


See VAN 


The Campagna at Rome (in the Town Gallery at Cassel). 
Italian Landscape, 1869 (in the National Gallery at Berlin). 


The Grave of Archimedes in Sicily. 
Stormy Landscape. 
Forest near Diisseldorf. ‘* 


BROMLEY, Joun Cuaruzs, the second son of ~ 
William Bromley, was born at Chelsea in 1795. 


He is known as the engraver in mezzotint of 
Hayter’s ‘Trial of Lord William Russell,’ Leslie’s 


‘Lady Jane Grey refusing the Crown,’ Lewis’s — 


‘Monks preaching at Seville,’ and other important 
works, including many excellent portraits. He 


died in 1839. His younger brother, JAMES BROMLEY, © 


who was likewise a mezzotint engraver, executed 


several portraits after Hayter, Ross, and other 


painters. He died in 1838, aged thirty-seven. _ 
BROMLEY, VALENTINE WALTER, who was born 


in 1848, received his art education from his father, © 


and at the early age of nineteen became an Asso- 


ciate of the Institute of Painters in Water-Colours, 


He frequently acted as art correspondent for the 
‘JTllustrated London News.’ He also worked much 
as a book-illustrator; amongst other works, Lord 
Dunraven’s ‘Great Divide’ was illustrated by him. 
He died at Fallows Green, Harpenden, in 1877. 


BROMLEY, Wit.14m, was born at Carisbrooke, 
in the Isle of Wight, in 1769, and was apprenticed 
to an engraver named Wooding in London, and 


soon attracted favourable notice. Of his early 
works the most popular are the prints in ‘ Macklin’s 
Bible,’ and his engravings of Stothard’s designs 
illustrating the ‘History of England.’ He en- 
graved also two of Sir Thomas Lawrence’s por- 
traits of the Duke of Wellington, and one of the 
young Napoleon. He was elected an associate 
engraver of the Royal Academy in 1819, and was 
employed for many years by the trustees of the 
British Museum in engraving the Elgin marbles 
after drawings by Corbould. He died in 1842. 
BROMPTON, RicHarp, a portrait painter, was a 
pupil of Benjamin Wilson. He afterwards went 
to Italy, and resided some time at Rome, where he 
received instructions from Raphael Mengs. He 
was there introduced to the patronage of the Earl 


of Northampton, and accompanied that nobleman © ; 


to Venice, when he was appointed ambassador 
to the republic. At Venice he painted a convers- 
ation-piece, in which he introduced the portraits 
of the Duke of York and several English gentle- 
men then on their travels. The picture was after- 
wards exhibited at the rooms in Spring Gardens in 
1763, at which time he returned to England, and 
for some years practised portrait painting. Ex- 
travagant living brought him to the King’s Bench, 
but he was rescued by the Empress of Russia, 
at whose request he went to St. Petersburg, where 
he was appointed portrait painter to the empress, 
and where he met with much employment. He 


died in that city in 1782. Among his best works 


are: 


The Prince of Wales in the Robes of the Garter, in 
1772; mezzotinted by John Saunders. 


Prince Frederick in the Robes of the Bath ; mezzotinted 


by John Saunders. 
The Earl of Chatham. 
Admiral Saunders; in Greenwich Hospital. 


BRONDGEEST, A.sertus, a Dutch painter, 
was born at Amsterdam, December 2, 1786. He 
was a pupil of P.G. van Os and of H. Numan. 


He travelled in Germany, became a member of 
the Netherlands Institute and of the Antwerp | 


Academy, and painted many landscapes and 


marines. He died at Amsterdam, July 30, 1849, 


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Works: | 


R. Museum. <A River Scene. 1837. 


Amsterdam. 
: Ditto (after Cuyp). 


” ”? 


BRONKHORST, Jan van, was born at Utrecht 


in 1603. He was taught glass-painting by T. 
_ Verburgh, and studied afterwards under P. Mat- 


thieu at Arras, and under Chamus at Paris. He 


practised that branch of the art with great suc- 
cess, and executed the fine windows in the new 


church at Amsterdam. When he was thirty-six 

ears old he became acquainted with Cornelis 

oelenburg, and abandoned glass-painting to imi- 
tate the style of that master, and painted several 
pictures in oil, which were much admired. Several 
of these works are in the Museums of Brunswick 
and Rotterdam. He etched some landscapes after 
Poelenburg, and other subjects from his own 
designs. He died in 1680. Bartsch describes 
eighteen of his prints, which he signed J. @. fecit, 
or J. G. B. fecit. The most important are: 

The Dying Christ ; after Poelenburg. 

A Nymph sleeping in a Grotto; afar the same, 

Roman Ruins, in nine plates; after the same. 

A Magdalen ; after Saftleven. 


BRONKHORST, JoHannzs, was born at Leyden 


- 3n 1648, and lived for some time at Horn. He was 


especially noted for his water-colour paintings of 
foreign birds and beasts. He died in 1726. 
BRONKHORST, Pisrer van, a Dutch painter, 


was born at Delft in 1588. He excelled in paint- 


ing the interiors of churches and temples, which he 


ornamented with small figures representing his- 
torical subjects. In the town-house at Delft he 
painted two large pictures—one of ‘The Interior 
of the Temple, with Solomon pronouncing his 
Judgment,’ and the other, ‘Christ driving the 
Money-changers out of the Temple.’ He died in 
1661. 

BRONTIN, Pierre, a French historical painter 
of the 16th century, was born in the department 
of the Nord. He settled at Lille about 1510, 
and executed many pictures for the churches of 
that city. : 

BRONZINO. See Axvori. 

BROOKE, Henry, who was born at Dublin in 
1738, painted historical subjects in London from 
1761 till 1767, when he returned to Dublin where 
he died in 1806. 

BROOKE, Wituiam Henry, who was born in 
1772, was a nephew of Henry Brooke, the author 
of ‘A Fool of Quality.’ He exhibited portraits and 
figure subjects at the Royal Academy occasionally 
between 1810 and 1826, but is best known by his 
illustrations to books: Moore’s ‘Irish Melodies,’ 
Walton’s ‘Angler,’ Keightley’s ‘Mythology,’ and 
other works. He died at Chichester in 1860. 

BROOKES, Warwick, draughtsman and de- 
signer, was born at Salford, of poor parents, in 
1808. On leaving school he was placed as “‘ tear- 
boy” under his uncle, a block-printer in some 
calico printing works. But his drawings having 
attracted the attention of his master, he was pro- 
moted to the designing-room. In 1838 a ‘School 
of Design’ was established at Manchester, and 
Brookes was one of the first to avail himself of 
its instruction. He was afterwards one of the 
most zealous among the band of young men who 
associated themselves for study from the life as 
“The United Society of Manchester Artists.” 
Brookes now began to make a local reputation, 


PAINTERS AND ENGRAVERS. 


and the Manchester Exhibition of 1857 brought 
him before a wider public. His contributions were 
noticed and admired by the Prince Consort, and 
he was brought into contact with many brother 
artists, and for a time paid yearly visits to London. 
He was about this time engaged by the Rossen- 
dale Printing Company, and, among other books, 
illustrated the works of Dr. John Browne, In 
1865 the first symptoms of lung disease showed 
themselves. He was gradually forced to give up 
active work, and in 1871 was granted a pension 
of £100 a year on the Civil List. He died at 
Salford, August 11, 1882, and was buried at Brook- 
lands, near Sale, Cheshire. For further particulars 
see the ‘ Portfolio’ for November and December, 
1886, 

BROOKING, CHarLEs, an eminent marine 
painter, was born in 1723. He is said to have 
been employed in some department of the dock- 
yard at Deptford, and it does not appear that he 
had the advantage of receiving any regular educa- 
tion in the art. He acquired considerable skill as 
a marine painter, and was fond of making pictures 
of sea-fights and of ships’ manoeuvres, in which 
he displayed his knowledge of nautical tactics. 
Unfortunately he was nearly all his life in the 
hands of the lower class of dealers, and it is said 
had just won by his art the patronage of a gentle- 
man of property when he died of decline in the 
year 1759, leaving his family destitute. Several 
of his works were engraved by Ravenet, Canot, 
and others. There is a large sea-piece by him at 
the Foundling Hospital. 

BROOKS, Joun, an engraver in mezzotint, is 
said to have been a native of Ireland. James 
McArdell was his apprentice, and both went from 
Dublin to London about 1727. Brooks led a disso- 
lute life, and for years lived in seclusion. He died 
about 1760. His works are chiefly portraits. We 
have by him Hugh Boulter, Archbishop of Armagh, 
Primate of Ireland, and William Aldrich, Lord 
Mayor of Dublin; dated 1742. There is also an 
engraving of ‘The Battle of the Boyne’ by him, 
after Wyck. 

BROOKSHAW, RicHarp, an engraver in mezzo- 
tint, was born about 1736. He executed several 
good portraits, and other subjects. After prac- 
tising in London for many years, he went to 
Paris, where he was well received. He died soon 
after 1804. We have by him, among others, the 
following : 

Louis XVI., King of France, 

Marie Antoinette of Austria, Queen of France. 

A half-length Portrait of a young Lady holding a Vase; 

after Sir Joshua Reynolds. 

A Portrait of General Paoli. 

James Bouverie, son of the Earl of Radnor; after Sir 

Joshua Reynolds. 

The Enchantress ; after Murray. 

Return from Egypt; after Rubens. 

Moonlight, a Sea-piece ; H, Kobell pinz. 

A Storm at Sea; the same. 


BROSAMER, Hans, an old German engraver, 
was born at Fulda about the year 1506. On account 
of the small size of his prints he is ranked among 
what are called the Little Masters. He designed 


‘both on wood and copper, although he was pro- 


perly a wood-engraver, signing himself on his por- 
trait of the Landgrave of Hesse, ‘ Formschneider 
zu Erfurt,’ where he resided during the latter part 
of his life. In his copper engravings his style is 
somewhat modern, and resembles rather the en- 


gravers who copied the designs of Be oe ae 


A BIOGRAPHICAL DICTIONARY OF : (Soe 


those of the earlier period, who invented their own 
subjects. He sometimes marked his plates 
with his name, and sometimes with the cipher | 
annexed. The following are his principal &= 


works: 
COPPER-PLATES. 


The Portrait of George Wicelaus. 1542. 

The Portrait of John II., Abbot of Fulda. 

Samson and Delilah ; Johannes Brosamer Fulda degens 
faciebat, 15 H. B. 45. 

David and Bathsheba. 

Solomon and his Wives ahem ige the Idol. 

Xantippe riding on Socrates. 

Laocoon and his Children. 1538. 

Marcus Curtius leaping into the Gulf; circular. 

The Judgment of Paris. 

The Crucifixion ; Joh. Hig? Fulde eke UE Saba 
1542; fine. 


1543. 


1540. 


= 


WOODCUTS. ee Se eee 
Creation of Eve. = 
Eve giving Adam the apple. 
Bathsheba in the Bath. 
Queen of Sheba before Solomon. we UA ow 
The Last Supper. - 


SS. Jerome, Matthew, Mark, ak, J ohn, Paul, James 


the Great. 
John the Baptist in Prison. 
Twenty-one pieces from the Revelation. 


PORTRAITS. 
Eoben Hess: the poet, 
George Sturtz, physician. 
Philip, Landgrave of Hesse. 
Hans Sachs: with the following inscription: “1545, 
Hans Sachs.° Alter 51 jar:” Hans Sachs, at the age 
of 51. 1545. On this print M. Derschau observes, on 
the authority of a MS. note’on an old impression, 
that Brosamer had madea gift of this engraving to 
the ‘master-singer’ on the 51st anniversary of his 
birth. mre W. B. S. 


BROSTERHOUS, JAN vAN, (BROSTERHUST, or 
BROSTERHUIZEN,) is the * name of a landscape 
painter and engraver of the early part of the 18th 
century. Little is known of his life, but he is said 
to have resided in the Netherlands, He etched in 
the style of Ruisdael, and- his plates, of which six- 
teen are known, representing landscapes, villages, 
&c., are executed in-a tasteful and pleasing man- 
ner. They aré’ signed with a B, ora B and an R 
interlaced. 

BROSTOLONI, Giovanni ' BATTISTA, an Italian 
engraver, was born at Venice about the year 1726. 
Hetis’said to-have been a pupil of Joseph Wagner. 
We have the following plates by him: 

Portrait of Pope Benedict XIV.; an oval plate. 

A Vignette; with the Portrait of Benedict XIV. 

St. Theresa in Adoration: 

A set of twenty Views in Venice ; after Canaletti. 1763. 

Another set of twelve large plates : after the same, with 

the Ceremonies of the Election of the Ase and his 
Marriage with the Adriatic. 

BROUCK, Moses Vyr DEN, (or Van BRowuck). 
See UYTEnBRouck. 

BROUWER, AprRIAEN, (or BRAvWwER, or De 
BRAUWERE,) was born about the year 1605, pro- 
bably at Oudenaerde. * Haarlem is:considered by 
some writers*to-be the place. of his birth. As 
related by Houbraken and “Descamps, the life of 
Brouwer is a tale of opportunities wasted and 
talents misapplied, a tale of drunken bouts and 
times of poverty. But later researches have dis- 
covered sufficient to do more than throw doubts 
even on these statements; and in his epitaph, pub- 
lished by De Bie, we read that he was ‘a man of 
great mind, who rejected every splendour of the 
world, and who despised gain and riches.’ His 


200 


mother, a dressmaker at Haarlem, entrusted young 
Adriaen to the tender care of Hals, who, if report 
speak true, used him but ill. He made him work 
without ceasing, and starved him for his pains, 
Leaving Hals, Brouwer wandered to Amsterdam, 
where his talents soon met with the recognition 
they deserved. From Amsterdam he went to 
Antwerp, where he was thrown into prison as a 
spy. He was released through his own talents 
and the intercession of Rubens, who would have 
had him reside with him. But his biographers 
tell us that he considered Rubens’s” splendour 
little better than the Duke’ of Arenberg’s prison. 
In 1631-32, Brouwer was received into the Guild 
of St. Luke at Antwerp, and in that year his 
portrait was painted. by Van Dyck; in 1634-5 he 
was made a member of ‘the society called ‘The. 
Violet.” He died at Antwerp in 1638, and was — 
buried in the Church of the: Carmelites. Genuine 

works by Brouwer are now rarely met with; they 


were highly esteemed even dn his own time, Rubens 


and Rembrandt: both possessed several of them. 
Though resident for some time at Antwerp, he is 
essentially Dutch in character ; and almost without 
exception his: pictures represent Dutch interiors, 
with peasants, drinking; smoking, and playing, and 
as often as not quarrelling,;and they are 
especially esteemed, for. their colouring. 

The following are some.of,the principal : 
Amsterdam. Musewn, A Village Revel. 


Berlin Museum, The Toilet (engraved in the series 
_. of .* The Seven Sins’ as * Sue 
_ perbia’) ; doubted. — 
Brussels. Museum. A Fight in a Cabaret, 
» Arenberg Col. Interior of a Tavern. 
Cassel. Gallery. Peasants Playing Cards. 
ds 7 Peasants in an Ale-house. 
Dresden Galiery. Two Peasants Fighting. 
% nt Two Peasants Sitting at a Table. 
bi 4 A Caricature (a study). 
Dulwich. Gallery. Interiorof an Ale-house. 
Florence. Uffizi. Peasants Drinking in a Tavern. 
. Re The Topers. 
Frankfort. Stddel. A.Peasant doctoring the foot of 
another Peasant. 
“ * A Peasant having his back doc- 
tored?’-a. B. 
A Man taking Medicine. A.B. 
London, ¥ ridgewater Peasants Sin ging. 


5, Hertford House. A Sleeping Peasant. 

Madrid. . Museum. The Comic Trio. 

Munich. Pinakothek. Peasants playing Cards. 

Spanish Soldiers playing at Dice. 

Three Peasants smoking. 

A Peasant playing the Fiddle 
while others sing. 

Two Peasants fighting separated 
by a third. 

Peasants fighting in an Ale-house. 

A Village Doctor dressing a Pea- 
sant’s Arm. 

Peasants'Singing. 

A- Peasant with a Lame Foot. 


“99 

Paris. Louvre. Tniterior of a Smoking-room. 
BS # The Smoker. A. B. 

Pesth. , Gallery. Peasants drinking. 


Petersburg. Hermitage. The Drinker (with monogram). 
Peasants in an Ale-house. 
Peasants quarrelling. 
= The Flute Player. 
Vieuna, Gallery. A Peasant sitting on a Cask. 

ie Czernin Coll. Peasants. 


We have a few etchings by Brouwer, executed | 
with great spirit, and full of character, as follow: 


A company of four Peasants ; inscribed 7” sa vrienden, Fe. 
A Woman playing on the Flageolet, and Peasants danc- 
ing ; inscribed Lustig spell, ge, 


” ” 
” ” 


7 


pros 


‘ esp Madox. PB ri “WITT 


Yrorm Vi pantittg ly 


ae we \ 
: Fler A Fe eG 


pers ahah ee 
: th rie Sagi 


Mihaly 


PAINTERS AND ENGRAVERS, 


Three Peasants smoking; Wer aent smoken. 

A Peasant sleeping, and others drinking ; Brauwer. 

Two of single figures; signed A. Brower. 

A Man and a Woman, with a Monkey smoking; Wats 
dit, Fe. 

A as held making Cakes ; a circular. } 

A Woman holding a Stove, and a Man lighting his Pipe. 

Six of Men and Women Peasants. 


In 1873 Wilhelm Schmidt published at Leipsic 
a life of Brouwer; and Paul Mantz, in the ‘ Gazette 
des Beaux-Arts’ (1879-80), and H. Raepsaet, in the 
‘Annales de la Société Royale des Beaux-Arts de 
Gand’ (1852), have contributed information con- 
cerning him. 

BROUWER, Jan, was a native of Holland, and 
flourished about the year 1680. He was chiefly 
employed in engraving portraits, which possess 
no great merit. Among others is that of the Km- 
peror Leopold, after W. Vaillant. ; 

BROWN, Davin, is known as a pupil of George 
Morland, whose works he imitated. He exhibited 
landscapes at the Royal Academy from 1792 to 1797. 

BROWN, Forp Mapox, was born on April 16, 
1821, at Calais, his father, a half-pay naval officer, 
having taken up his residence abroad when after 
the wars he had failed to obtain another ship to 
command. His ability to draw with accuracy was 
discovered at a very early age by reason of the lad 
having corrected when hardly five years old the 
drawing of the leg of a horse which he had seen 
executed by arelation. His father was delighted 
to find such an ability in his son, and gave him the 
best art education which was in his power, employ- 
ing various masters to teach him in the French 
and Flemish towns in which the family successively 
made their home, and in Bruges and Ghent 
especially the lad received very careful teaching. 
One of his earliest productions was a portrait of 
his restless father which is still in existence, and 
considered a striking likeness of the naval officer. 
It was at Antwerp that Ford M. Brown really 
began his serious studies. He entered the studio 
of Baron Wappers, and was beginning to make 
important progress when his father decided to leave 
the city on a further wandering, and to settle down 
in some other place. ‘To this course young Brown 
steadily objected, and being supported by his 
mother, who was possessed of some small means 
in her own right, it was decided that the lad 
should remain at Antwerp, and that his parents 
should pursue their journey without him. His 
life at Antwerp was, however, soon to be broken 
into, as, very shortly after the family had left, 
the news reached the young student of the 
sudden death of his mother, and he had to hurry 
away to Calais to her funeral. His father and 
sister returned with him then to Antwerp, but 
soon after that the sister sickened and died and 
was buried at Antwerp, and then the health of 
Ford Brown broke down, and his son had to devote 
his attention to his father. This trouble was not 
all which befell him, for, in the meantime, he had 
married, and afew years efter (1845) his wife, whose 
firstborn child had died and who had only recently 
presented him with another girl, became seriously 
ill, and the young artist had to proceed to Italy 
with his wife, baby daughter, and nurse, in the 
hope that in a more clement climate his wife might 
obtain strength. Nine months they spent in Rome, 
but Mrs. Brown got no better, and desired earnestly 
to return to her native land. They journeyed 
home by rapid stages via Paris, but in spite of all 


the loving care which was lavished upon her, the 
invalid died in the arms of her husband in the 
very postchaise while driving down one of the 
streets of Paris on their way to Calais. The chief 
picture which the artist had commenced in Rome, 
a large triptych of ‘Chaucer at the Court of Edward 
III.,’ had been destroyed on the way, as it had 
proved too heavy to be carried with them, and 
too serious an impediment to their travelling, and 
the artist had therefore to return to England, a 
widower, with a baby child, broken down in health 
and in spirits, and without much tangible result of 
his labours during the long time he had spent 
abroad. Thenensued still further disappointment, 
for, settling in England, he found that his pictures 
were only received with derision, those which he sent 
in to the Academy being either promptly rejected 
or else hung so high as to be almost out of sight, 
or hung without the frames which he had specially 
designed for them, or in rooms where it was 
difficult to discover them, ‘Christ washing the 
feet of St. Peter’ was skied close to the ceiling, 
‘Baa Lambs’ was hung in the octagon room out 
of the way, his picture of ‘Chaucer’ had its fine 
frame discarded, and his pictures of ‘Shakespeare’ 
and ‘Our Ladye of Good Counsel’ were returned 
on his hands. Surely never did a great painter 
meet with more discouragement. So accustomed 
was he to receive ridicule rather than praise, that 
when at last one man, attracted by the high merits 
of the artist, his marvellous poetic imagination 
and his glorious colouring, ventured to write to him 
and to ask to be received as his pupil, it was with 
a stout oaken stick that Madox Brown prepared to 
receive the youthful Rossetti who had so addressed 
him, feeling sure in his own mind that such a 
letter as had been written must have been intended 
as a hoax. It was in 1848 that Rossetti first went 
to see Madox Brown, and it was the cartoons 
which the elder artist had sent in for the decoration 
of the House of Peers which had so attracted the 
younger man. There were but seven years 
difference in age between them, but the strong 
affinity which each realized for the other ripened 
into a very close friendship, and as friends rather 
than actually as pupils they worked together for 
some time. Brown had been in advance of his 
age. He was a Pre-Raphaelite before the word 
was invented, and it was very largely from his 
influence that the new movement arose, although 
he never affiliated himself with it or joined any 
society. His had been the originating force, his 
was the teaching and influence, albeit it was others 
who realized all that the new step meant, and put 
into force for the very first time the logical 
development of the theories which had been 
taught them by Brown, His influence over 
Rossetti was well-nigh unbounded, and the younger 
artist considered him as his ‘‘ dearest and most 
intimate of friends, by comparison the only one 
whom he possessed.”’ The disgraceful way in which 
the artist was treated by the Royal Academy was 
fortunately not followed by the purchasers of 
pictures, some of whom at length began to find out 
Brown and to give him commissions. It was 
fortunate that it was so, as he had married a 
second time, and had a young family growing up 
around him His son, Oliver Madox Brown, was 
born in 1855, and it was at just about this time 
that the tide began to turn in his favour. Just 
before the birth of Oliver he had completed one 
of his greatest works, ‘The Last of England,’ 
201 


=, Ye 


Li. oy a Re 
Fy Cee ee 


SE a by his visit to Gravesend to see his old 
friend Woolner off to Australia, In 1865 he com- 


pleted his noble painting called ‘Work,’ which is 


now in the Manchester Exhibition, and then it was 
that he decided on having for the first time a show 
of his finished productions. It was held in Picca- 
dilly, and owing to faults of mismanagement 
failed to pay its expenses, but it made the artist 
known, and gathered around him many who, in 
later years, became his friends and constant patrons. 
Carlyle and Browning were amongst the most 
enthusiastic of his admirers at that time. The 
years which followed were very full of sound work. 
‘Romeo and Juliet,’ ‘English Autumn Afternoons,’ 
‘Cromwell on his Farm, ” ¢Elijah and the Widow’s 
Son,’ ‘Cordelia and Lear, ‘Ehud and Eglon,’ 
‘Wickliffe on his Trial,’ and many. others might 
be quoted to show what fine paintings were pro- 
duced at that time; and then in 1878 arrived the 
commission for the greatest work of his life, the 
series of mural paintings for the Town Hall of 
Manchester, upon which he was at work when he 
died. Notable amongst this splendid series are the 
panels which depict the Expulsion of the Danes, 
the Romans building the City, and John Dalton 
experimenting with marsh-gas. One of his latest 
works was the designing of the lovely Irish cross of 
marble which was placed over the grave of Rossetti 
at Birchington-on-Sea, and also the alto-relievo 
which was erected on the Thames Embankment to 
the memory of the same talented painter. He him- 
self died in October 1893. ‘“ As a dramatic painter 
he has had few equals in this country, just as for 
every personal quality which makes a man beloved 
of his friends he had no superior.” His special 
qualities have been well described by a recent 
writer as “ unsurpassable invention and mastery of 
composition, a fine sense of style, a vivid appreci- 
ation of, and executive power over, pure colour.” He 
had, it must be confessed, occasionally a “strange 
leaning towards ugliness of form or attitude and 
emphasis of expression which at times almost 
amounted to caricature,” but he was a man of 
the highest ideals, of an opulent colour sense, of 
the noblest intention, and gifted with wonderful 
skill, His friends described him as “ gentle, 
modest, genial, and guileless, almost to the point of 
simplicity,” although he could, if aroused, be force- 
ful, stern, and inflexible, but was never resentful 
or vindictive. He was one of the very last of the 
historical painters of England, a man of great in- 
vention, brilliant execution, and largeness of con- 
ception, and his influence upon all those who 
immediately followed him it is impossible to over- 
rate. To him we really owe the startling change 
which passed over English art, its recrudescence, 
and its revival. Millais could not have been but for 
Brown; Rossetti learned from him and in his turn 
taught him what he knew ; Holman Hunt was the 
result of the work of Brown, and the whole school 
of Englishmen who have followed have learned 
colour, brilliance, invention, and the use of the 
imagination from the once neglected and little 
understood work of Ford Madox Brown. G.(. W. 

BROWN, Joun, was “Sergeant painter to Henry 
Vile and received a pension of £10 a year. He 
built Painters’ Hall for that Company in 1553; his 
portrait is preserved there (Redgrave). 

BROWN, Jonny, the son of a watchmaker, was 
born at Edinburgh i in 1752, and became a pupil of 
Alexander Runciman. When nineteen years of age 
he went to Rome, whence he sent drawings to the 


202 


Royal Raines He arersante Felted Sicily, anc . 
made sketches of the ruins of ancient buildings — 


there. 


miniature portraits, He died at Leith in 1787, 


BROWN, Joun Lewis, French painter, born at = 
Bordeaux the 16th of August, 1829, of a family 
originally English. He became known by bigs 


In 1786 he went to London, and exhibited ; 


studies of horses and dogs, sporting scenes and _ 


military subjects. Among his most celebrated 


pictures we may cite ‘L’Kcole du Cavalier,’ acquired an 
Two 


by the Emperor Napoleon III. in 1866. 
episodes taken from the Seven Years’ War were 
exhibited in 1868, and ‘ Hohenlinden 3 décembre 


1800,’ painted for ‘the 11th Regiment of Chasseurs | 


in 1887. He exhibited some dozen pictures at the 


Exposition des Artistes at the Champ de Mars ~ 


in 1890. Several of his pictures were shown at 
the Universal Exhibitions of 1878 and 1889. He 


gained medals in 1865, 1866 and 1867, and a gold ~ 


medal at the Exhibition of 1889, He was decorated 


with the Legion of Honour in 1870, and died in a 


Paris the 14th of November, 1890. 
BROWN, Marner, was born in America (? at 


Boston), about the middle of the 18th century ; a 


came to England when quite young, and became 
the pupil of his fellow-countryman, West. He ex- 


hibited his first picture at the Royal Academy in __ 
1782, and continued to send his works to the Exhi- 


bition constantly until his death. He painted the 
portraits of George III. and Queen Charlotte, and 
of many of the distinguished English military and 
naval officers of his time, among whom were 
Elliot, Rodney, and Cornwallis. 
subjects from the events of the war in India with 
Tippoo Saib, and from scenes in Shakespeare for 
Boydell’s Gallery. His art never reached any high 
standard, and in his latter days it became almost 
imbecile. He died in London in 1831. 

BROWN, PETER, a flower painter, exhibited at 
the Royal Academy from 1770 till 1791. He was 
a member of the Incorporated Society of Artists 
and Botanical Painter to the then Prince of Wales. 

BROWN, Ricuarp, was an architectural draughts- 
man of some repute at the beginning of the nine- 
teenth century. He published views of Chester and 
Exeter Cathedrals, and several important books on 
perspective and architecture. His last work, ‘Sacred 
Architecture,’ was printed in 1845. 

BROWN, Rosert, a native of London, was, 
according to Lord Orford, a disciple of Thornhill, 
and worked under him on the dome of St. Paul's, 
On leaving that master he was much employed in 
decorating churches in the city. He painted the 
altar-piece of St. Andrew Undershaft; in St. Botolph, 
Aldgate, ‘The Transfiguration ;’ for the altar in St. 
Andrew’s, Holborn, the figures of St. Andrew and 
St. John; and two histories on the sides of the 
organ. In St. John’s chapel, Bedford-row (since 
pulled down), he painted the figures of St. John 
the Baptist and St. John the Evangelist. He died 
in 1753. 

BROWN, Witi4m, an. English wood-engraver, 

was born at York, but settled in Belgium, where 
he died in 1877. His best plates are: 


Notre-Dame de Bon Conseil; after Van Maldeghem. 

The Transfiguration ; after Raphael. 

The Assumption ; a ifter Rubens. 

The Holy Family ; after the same. 

The Last Supper ; after the same. 

Jesus bay to be crowned with Thorns; ; after Van 
Dye 


BROWNE, ALEXANDER, was an artist and en- — . 


He also painted | 


Ladd SWaLad “LS ONIHSVM LSIYHO 


u0puoTy ‘h4ajjvH agvT | 


th 7. 


FORD MADOX BROWN 


CHAUCER AT THE COURT OF EDWARD III. 


[ Sydney Municipal Gallery 


_ graver in the time of Charles II., whose portrait he 
_ painted. He is known as the author of ‘ Ars Pic- 
_ toria, an Academy treating of Painting, &c., with 


thirty-one copper-plates; with an Appendix on 
Miniature Painting,’ 1675; and of ‘A Compendious 
Drawing-Book,’ with forty copper-plates, 1677. 
BROWNE, Hastor Knieut, better known as 
‘Puiz, was born at Kennington, June 15, 1815. 
His father, a merchant, was a native of Norfolk, 
Hablot (so named after a French officer killed at 
Waterloo, to whom his sister was betrothed) was 
apprenticed to William Finden, and domiciled in 
London with a sister married to Elkanan Bicknell, 
the well-known collector. Engraving, however, 
was not to the boy’s taste, and he began to dabble 
in water-colour. After his time was out he took 
a modest lodging in company with a friend, and 
entered as a student at the St. Martin’s Lane life- 


school, where Etty was working at the time. In 


1832 Browne gained a medal from the Society of 
Arts, having in 1830 begun that association with 
Dickens for which he is chiefly remembered. His 
first drawings were for ‘Sunday as it is, by 
Timothy Sparks.’ The publication of ‘ Pickwick’ 
followed in the same year, and after the death of 
Robert Seymour, and the failure of Buss, Browne 
was chosen by Dickens to finish the series. On 
the first two plates he signed himself ‘ Nemo,’ but 
afterwards adopted ‘Phiz,’ as more in harmony 
with ‘Boz.’ This association between writer and 
artist lasted many years, and bore fruit in ‘ Nicho- 
las Nickleby ’ (1839), ‘ Martin Chuzzlewit’ (1844), 
*Dombey and Son’ (1848), ‘David Copperfield ’ 
(1850), ‘Bleak House’ (1853), ‘Little Dorrit’ (1855), 
and ‘A Tale of Two Cities’ (1859). Later, ‘ Phiz’ 
designed illustrations for the novels of Ainsworth, 


Lever, and Frank Smedley ; his mastery of horses 
serving him well with the two latter. 


After his 
prosperity became assured he left London, and 
lived successively at Croydon and at Banstead, 
working at his art, and spending most of his leisure 
in the hunting-field. He painted in water-colours 
and occasionally in oil, contributing for many years 
to the British Institution and the Society of British 
Artists, and even competing at Westminster Hall 
in 1843. In 1867 he was overtaken by partial 
paralysis, and though he continued to work for 
the fifteen years that passed before his death, his 


hand had lost its cunning. Towards the close of | 


his life he received a small! pension from the Royal 
Academy. In 1880 he moved with his wife and 
family to Brighton, where he died, July 8, 1882. 

BROWNE, Henrierre. See DEsavx. 

BROWNE, Joan, the son of a Norfolk clergy- 
man, was born at Finchingfield, in Essex, in 1741 
(Redgrave). He was educated at Norwich, and in 
1756 was sent to London, where he was placed 
with John Tinney the engraver. William Woollett 
was his fellow apprentice. He quickly distinguished 
himself in his art, and in 1768 exhibited an en- 
graving of ‘St. John Preaching in the Wilderness,’ 
after Salvator Rosa, which brought him into much 
notice. ‘T'wo years afterwards he was made an 
associate engraver of the Royal Academy, and he 
became distinguished as an excellent engraver of 
landscapes. Many of his works were published by 
Alderman Boydell. He died at Walworth in 1801. 
The following are his principal engravings : 


St. John Preaching in the Wilderness; after Salvator 
Rosa. 

A Landscape, with a Sportsman; after G. Poussin ; in 
the Houghton Collection. 


PAINTERS AND ENGRAVERS. 


A Kitchen ; after Teniers. 

The Cottage ; after Hobbema. 1778. 

The Waggoner ; after Rubens. 1776; fine. 

A Landscape ; after the same; from a picture in the col- 

lection of the Duke of Montagu. 

The Market; after the same; from a picture in the 

Royal Collection. 

The Milkmaid; after the same. 

Apollo and the Muses granting Longevity to the Sibyl 

of Cuma; after Salvator Rosa. 

Landscape, with a Waterfall; after G. Poussin. 

BROWNE, J. C., who was born at Glasgow in 
1805, practised as a landscape painter in the Low 
Countries, Spain, in London, in Edinburgh, and in 
his native Glasgow. He died in Edinburgh in 1867. 

BROWNLIE, R. A., was brought up as an 
architectural and mechanical draughtsman. On 
his first coming up to London from the north, he 
exhibited some work at the New English Art 
Club, but in later years established himself as a 
black-and-white artist, and became well known 
by his caricatures, his drawings chiefly appearing 
in ‘Sketch’ and ‘ Judy’ under the initials R. A. B. 
He died in Edinburgh in the year 1897. 

BROZIK, Wences.as, historical painter, born at 
Tremosyna, near. Pilsen, Bohemia, in 1851. At the 
outset of his career he was a pupil of the School of 
Beaux Arts at Prague, and subsequently continued 
his studies at the Munich Art Schools, being largely 
under the influence of Piloty’s school. It was in 
the year 1876 that he first came to live in Paris to 
study under Bonnat. In the following year his 
first pictures were exhibited in the Salon, to wit: 
‘The Departure of Dagmar, fiancée of King Valde- 
mar IJ. of Denmark, 1205,’ and ‘ An Episode in 
the Hussite War.’ Another picture of his, painted 
in 1878, ‘The Embassy of King Ladislas to the 
Court of Henry VIL.,’ was acquired for the National 
Gallery of Berlin. Later on, he devoted much of 
his time to portraiture, with no little success. He 
was decorated with the Legion of Honour on July 
22, 1884, being promoted to the rank of officer on 
July 12, 1890. He gained a second-class medal 
in 1878, and the honour of nobility was conferred 
upon him by the Emperor of Austria. His death 
occurred at the age of forty-nine, 

BRU, Mosen VIcENTE, according to Palomino 
Velasco, was born at Valencia in 1682. He was 
the scholar of Juan Conchillos, and gave promise 
of uncommon ability. Before he was twenty-one 
years of age he had painted several pictures for 
the churches in his native city, of which that 


-author mentions three in the church of San Juan 


del Mercado—‘ St. Francisco de Paula,’ ‘The Bap- 
tism of Christ by St. John,’ and a picture of ‘ All 
the Saints.’ He died in 1703. 

BRUANDET, Lazare, a French landscape 
painter, was born in Paris in 1755, He painted 
views of Paris, and sought to imitate Ruisdael. 
In the Louvre there is by him a ‘ View in the 
Forest of Fontainebleau,’ signed and dated 1785. 
He died in Paris in 1803. 

BRUCKER. See Pruacer. 

BRUCKMANN, ALEXANDER, historical and por- 
trait painter, was born at Reutlingen in 1806, and 
commenced painting in 1824 at Stuttgart. In the 
following year he removed to Munich, and in 1829 
to Rome, where he remained two years, and there 
produced his picture, now in the State Gallery at 
Stuttgart, ‘Barbarossa’s Body drawn out of the 
Calycadnus.’ In 1833 he painted, in the royal 
palace at Munich, fourteen pictures from Theocri- 
tus’s poems, which were partly his own concep- 
tions, and partly from designs by H. rei In 


A BIOGRAPHICAL DICTIONARY OF 


1835 he received a concussion of the brain from 
the upsetting of a carriage, and this brought on a 
chronic nervous derangement, ending in delirium 
and death in 1852 at Stuttgart. In addition to a 
number of excellent portraits, mention is made of 
his ‘Women of Weinsberg,’ ‘The Sirens,’ ‘ Romeo 
and Juliet,’ and ‘The Maiden from Afar’ (Schiller’s 
‘Das Madchen aus der Fremde’). 

BRUGGE, Rogier vAN. See VAN DER WEYDEN. 

BRUEGHEL. As, from the alphabetical ar- 
rangement of this dictionary, the names of the 
members of this family are intermingled with 
those of synonymous painters with whom they are 
in no way connected, it has been thought advis- 
able to append a genealogical table to show their 
various relationships. The name which from 
custom became a surname arose from the fact of 
the first member of this family having been a 
native of a village of that name near Breda. The 
modern spelling of which, Breughel, has, in error, 
been assigned by many to the painter. 


Peter I. (Boeren Brueghel) (1530—1569) 


Peeter IT. Jan I. (Fluweelen Brueghel) 
(H6llen Brueghel) (1568—1625), married— 
(1564—1637-38) 1. Isabella de Jode; 2. Catherina van Marienburg 
Peeter III. — —-——_ 
(1589—1638-39) Jan II. Ambrosius Paschasie Anna Brueghel 
(1601—16..) (1617—1675) married (married 
Van Kessel) David Teniers) 


BRUEGHEL, AxsraHam, called RyNGRAF, was 
born at Antwerp in 1672. He excelled in the 
painting of flowers and fruit, both in oil and 
water-colours. A flower-piece by him is in the 
Hermitage, St. Petersburg, and another is in the 
Pitti Palace, Florence. He was called ‘Il Napoli- 
tano,’ from his residence in Naples, in which city 
the greater part of his works are found. He died 
at Rome in 1720. His brother JAN Baptist 
BRUEGHEL was also a fruit and flower painter; he 
was born at Antwerp in 1670, and died at Rome in 
1719. CAsPAR BRUEGHEL was the son of Abraham 
Brueghel. There was also an engraver FRANS 
HIeRoNyMvus BRUEGHEL, who flourished in the 18th 
century, and likewise painted sea-pieces. 

BRUEGHEL, Amszros, was a flower painter, and 
from 1653 to 1670 director of the Academy at 
Antwerp. Pictures by him are at Vienna, Cologne, 
and Christiania. 

BRUEGHEL, JAN, (or BRUEGEL: usually, but less 
correctly, written BREUGHEL,) was called ‘ Blumen- 
Brueghel’ or ‘Sammt-Brueghel,’ also Fluweelen- 
Brueghel, 2.e ‘ Velvet-Brueghel,’ it is said on 
account of his partiality for dressing in that 
material He was the younger son of Peeter 
Brueghel the elder, and was born at Brussels in 
1568. His father dying when he was only five 
years old, he was brought up, and instructed in the 
art of painting in distemper, by Marie de Bes- 
semers (the widow of Pieter Coucke of Alost), who 
was his maternal grandmother. He was afterwards 
instructed by Pieter Goetkint in the use of oil. 
In the early part of his career he painted flowers 
and fruit, in which branch of the art he had already 
become celebrated, when on visiting Italy—going 
through Cologne, where he stayed some time—he 
changed his subjects, and painted landscapes with 
small figures, which were correctly drawn and 
touched with spirit. On his return to Flanders his 
works were regarded with much esteem. In 1597he 
entered the Guild at Antwerp. In1599 he married 
Isabella de Jode, of Antwerp, by whom he had two 
children—JAN BRUEGHEL ‘the younger,’ who fol- 

204 


rg Se EN IN RS ee Th Ge aes ea 
A a ' - | } o> 4 > Pn 


lowed his father’s profession, and always painted — 
landscapes, which are frequently mistaken for his 
father’s work, and a daughter Paschasie, who mar- 
ried the painter Van Kessel. In 1605 we find that 
Brueghel married again. His second wife, Cathe- 
rina van Marienburg, bore him, among other chil- 


dren, a daughter Anna, who subsequently became — 


the first wife of David Teniers. In 1601 Brueghel 
bought the freedom of Antwerp; in 1602 he was 
dean of the Guild; he was also a member of the 
‘Violet’ Society. He died at Antwerp in 1625. 
Though it is as a landscape painter that Brueghel 
won most of his fame, yet his subject-pictures are 
little behind the works of his contemporaries in 
that branch of art. They are conceived with a 
sense of humour, and are carefully executed. His 
productions were so much admired by Rubens that 
he solicited him to paint the landscapes in several 
of his easel-pictures. One of the most esteemed 
specimens of their united talents was a picture of 
‘Adam and Eve in Paradise,’ in which the figures 
of Adam and Eve, and perhaps the horse, were 
admirably painted by Rubens in one of the finest 
landscapes of Brueghel. It was formerly in the 
collection of the Prince of Orange, but was taken 
to Paris by the French, and is now in the Hague © 
Gallery. Brueghel performed a similar service for 
Van Balen and Rottenhammer, and he painted 
small figures with so much neatness and accuracy 
that he was invited to decorate with them the 
churches of Steenwijck and the landscapes of 
Momper. His ‘Views of Flanders’ are faithful 
transcripts of the scenery of the country; and his 
trees, plants, and even insects are drawn and 
painted with the utmost precision. In art Jan 
Brueghel was as superior to his father as the latter 
was to his son Pieter. He painted scenes from 
peasant life, as well as demoniacal subjects, with 
much success. His works display a sound know- 
ledge of chiaroscuro. The following are some of 
his-principal paintings : 

Landscapeand figures (w7th Rubens). 

The Forge of Vulcan (figures by 
Van Balen).- 

Still-life (a red vase with flowers). 

Paradise. 

Landscape with St. Hubert (figures 
by Rubens). 

St. Norbert preaching, 

Autumn. 

Winter Landscape. 

Sea-piece. 

Landscapes. 

Landscapes (fourteen, all signed 
BRUEGHEL, and bearing dates 
From 1604—1642). 

Landscapes with figures (s¢rteen 
unsigned). 

. Landscape. 

The four Elements. 

. The four Elements. 

. The four Elements. 

Landscapes. 

Rustic Feasts. 
And others. 

Pinakothek. Landscapes and figures (twenty- 
seven: nine have figures by Van 
Balen). 

The Terrestrial Paradise. 

Air (figures by Van Balen). 1621. 

» ts Battle of Arbela. 

The Bridge of Talavera. 1610. 

Landscape. 1600. 

And others. 
Petersburg. Hermitage. Landscape with a Forest. 1607. 
Ten other landscapes. 
Doria Pal, The four Elements. 


Augsburg. 
Berlin. 


Gallery. 
Gallery. 


39 9 
” 2? 
99 99 


Museum. 


Cassel. Gallery. 


”? 29 


Dresden, Gallery. 


Brussels. 


99 99 


Florence, 
Lyons. 
Madrid. 


2? 2? 
? 39 


Munich. 


Paris. Louvre. 


9 2? 


Rome. 


Coast scene. 
Flowers. 
The four Elements, 
ores | > ne Landscape. 

», Liechtenstein Coll. Landscape. 


Vienna, Gallery. 
” 9 
” ” 


We have four small etchings by Jan Brueghel; 
they are marked J. Sadeler exc. 

BRUEGHEL, Pererer, ‘the elder,’ (BRUEGEL or 
less correctly BREUGHEL,) called ‘ Boeren-Brueghel’ 
(Peasant-Brueghel), and also ‘the Droll,’ was born 
in the village of that name, near Breda, about the 
year 1530. He was the son of a peasant, and was 
instructed in painting by Pieter Coucke; but he 
seems to have paid more attention to the eccen- 
tricities of Jerom Bosch than to the works of his 
instructor. He became, in 1551, a member of the 
Guild at Antwerp, and travelled soon afterwards 
in France and Italy, devoting particular study to 
the wildest and most romantic parts of the Alps. 
On his return to Flanders, in 1553, he settled for a 
time at Antwerp, where his works met with much 
admiration. In 1563 he removed to Brussels, where 
he died in 1569. His best pictures represent village 
feasts and merry-makings, and it is said that he 
frequently disguised himself as a boor, to mix in 
those rural amusements, to observe with more 
accuracy their various characters, which he personi- 
fied with great humour and pleasantry. He also 
painted attacks of banditti in wild landscapes, 
gipsies telling fortunes, and other drolleries. In 
these subjects he has only been surpassed by 


-Teniers. The following are some of his best paint- 


ings : 
Brussels. Museum. 
Darmstadt. Gallery. 


Massacre of the Innocents. 
Landscape. 


Florence. Uffizi. Christ bearing the Cross, 
Madrid. Museum. Triumph of Death. 
Munich. Pinakothek. Preaching of John the Baptist. 
Paris. Lowvre. View of a Village. 
a al. Peasants dancing. 
Vienna. Gallery. Fight between Carnival and Lent, 


1559. 
Massacre of the Innocents. 
Christ carrying the Cross. 1563. 
“ fe The Tower of Babel. 1563. 
3 AS Peasant Wedding. 


Peeter Brueghel has etched a few plates of similar 
subjects to his pictures: 


A large plate of a Kermess, or Village Festival. 

Another subject of Peasants regaling ; inscribed Kirch- 
mess Barth. Mumper exe. 

The Feast of the Archers, with their Banner flying from 
the Window of an Alehouse; inscribed Dit is de 
Gulde, &c. 


3° ” 
23 2? 


_ A Masquerade, known by the name of Valentine and 


Orson, with his name, and dated 1566; scarce. 

A View on the Rhine, with the subject of Dzdalus and 
Icarus; Petrus Brueghel fecit ; Rome, 1553. Eaucud. 
Hondius. 

Another View on the Rhine, with the subject of 
Mercury and Psyche ; same mark. 

BRUEGHEL, Peerer, ‘the younger,’ called, 
from the frightful and eccentric subjects he painted, 
‘Hollen Brueghel’(‘ Hell Brueghel’), was born at 
Brussels in 1564. He studied under Gillis van 
Coninxloo at Antwerp. Asa painter he is much 
inferior to his father, the elder painter of the 
same name, and there is not much in the subjects 
of his pictures to recommend them to one’s notice. 
He was registered as a master at Antwerp in 1585; 
married three years later, and died also at Antwerp 
in 1637-38. A ‘Christ bearing the Cross,’ signed 
and dated 1606, in the Berlin Museum, is a good 
specimen of his art; a replica of the same subject 
is in the Antwerp Gallery. In the Brussels Gallery 


PAINTERS AND ENGRAVERS. 


there is a ‘Fall of the Rebel Angels’ by him. His 
works are seen in many of the continental galleries. 
He had a son, PEsrer Brurcuet III., who was 
porn at Antwerp in 1589, was free of the Guild in 
1608, and died in 1638-39, and was, it is thought, 
instructor of Gonzales Cocx. 

BRUGES, JEAN DE, was the author of the 
illuminations in a translation of the Vulgate 
which was presented to Charles V. of France by 
one Jehan Vaudetar. It is now in the Westreen 
Museum at the Hague, a museum which contains 
many interesting missals of a similar character. 
These illuminations were executed in the year 
1371, a period when art in the Netherlands was 
making rapid advances beyond the conventionality 
of the early 14th century, and the work of Jean 
de Bruges is by no means behind that of his 
contemporaries. 

BRUGES, Marco pg. 

BRUGES, Roger or. See VAN pER WEYDEN. 

BRUGGEN, J. rer. See Ter Bruacasn. 

BRUGGEN, J. van per. See VAN DER BRUGGEN. 

BRUIN (Bruyn). See Dz Bruyn. 

BRUN, Le. See Le Brun. 

BRUN, Avaustin. See BRAUN. 

BRUN, F., a French engraver, was probably of 
the same family with Charles and Gabriel Le Brun. 
He engraved a few plates, which are executed en- 
tirely with the graver, in a neat style, but without 
taste ; among which are the following portraits : 

The King and Queen of Bohemia; in one plate. 

Leopold, Archduke of Austria. 

Frederick Henry, Prince of Orange. 

BRUNAUD, Micuert, was a French engraver 
on wood, who flourished at Lyons in the 16th 
century. There is by him a fine engraving of 
Henry IV., King of France and Navarre, signed 
and dated 1595. 

BRUNE, ApotPHE, who was born at Paris in 
1802, studied under Gros, and made his débué at 
the Salon in 1833 with an ‘Adoration of the Magi.’ 
He was subsequently employed on various public 
buildings. He decorated the ‘Salle des Séances’ 
of the Senate in the Luxembourg, and the ceiling 
of the Bibliothéque of the Louvre. Brune died in 
1880. 

BRUNEAU, Lotis, a French engraver, flourished 
about the year 1750. He etched several plates of 
landscapes, some of which are from his own de- 
signs. They are executed in a very pleasing style. 
It is most probable that he resided some time in 
London, as some of them were published by J. 
Tinney, in Fleet Street. 

BRUNETTI, SrxpastIano, was a native of Bo- 
logna, and was first a scnolar of Lucio Massari ; 
but, according to Malvasia, he afterwards was 
instructed in the school of Guido, of whom he was 
one of the ablest disciples. He painted in the 
graceful manner of his instructor, but his colour- 
ing is rather cold and heavy. In the church of 
Santa Maria Maggiore, at Bologna, he painted a 
picture of ‘The Guardian Angel ;’ in San Giuseppe, 
a ‘Holy Family,’ entirely in the style of Guido ; 
and in Santa Margherita, ‘Mary Magdalen pray- 
ing in the Desert.’ This last is now in the Pina- 
coteca at Bologna. He died young in 1649. 

BRUNI, Domenico, was born, according to 
Averoldi, at Brescia in 1591, and was a scholar of 
Tommaso Sandrini. He was a reputable painter 
of architectural views and perspective. Several 
of his works are in the churches and public edifices 
at Brescia, where he died in 1666. 


See GARRARD. 


205 


A BIOGRAPHICAL DICTIONA 


BRUNI, Fepor ANTonovitTcH, born in 1801, was 
the son of Italian parents domiciled in Russia. 
He studied at Rome, but returned to St. Peters- 
burg, where he eventually became director of the 
Academy of Fine Arts. His principal works are 
‘The Death of Camilla,’ ‘Christ in the Garden of 
Gethsemane,’ ‘The Brazen Serpent,’ and various 
figures in the cathedral of St. Isaac. From 1866 
till his death, in 1874, he superintended the School 
of Mosaics at St. Petersburg. 

BRUNI, Francesco, an Italian engraver, was 
born at Genoa about the year 1660. We have by 
him a plate of ‘The Assumption of the Virgin,’ 
after Guido. 

BRUNI, Geronimo, a famous painter of battle 
scenes and an etcher, was a pupil of Bourguignon, 
and was working at Naples in 1660-70. 

BRUNI, Giuxio, was a Piedmontese painter, who 
was educated at Genoa under Lazzaro Tavarone ; 
but preferring the more pleasing manner of Gio- 
vanni Battista Paggi, he became his scholar, and 
proved a very reputable painter of historical sub- 
jects. According to Soprani, he flourished about 
the year 1625, and was at that period in great 
repute in Savoy, when the wars in that country 
obliged him to leave it and return to Genoa, where 
he died soon after. 

BRUNI, Orazio, an Italian engraver, was born 
at Siena about the year 1630. He is one of the 
few Italians who worked entirely with the graver, 
and appears to have imitated the style of F. de 
Poilly. He engraved some plates from his own 
designs, and others from Rutilio Manetti, &c. The 
following are among his plates : 

The Prodigal Son. 

The Golden Age. 

A set of the Four Seasons. 

A set of various Animals, 

A Warrior and a Female in a Triumphal Car, with 

Minerva presenting a Sceptre. 


BRUNN, A. F., was a native of Germany, and 
flourished about the year 1580. He engraved 
some plates, which are neatly executed, but in a 
stiff, Gothic style. Among others is a print repre- 
senting Christ standing on a mountain, accompanied 
by an angel, with a female figure, emblematical 
of the Church, and Satan and his accomplices 
appear below. Itis inscribed A. F. Brunn fecit, 
by which it may be presumed to be from his own 
design. 

BRUNN, D., was probably a relative of Isaac 
Brunn. He worked entirely with the graver, in a 
style that has some resemblance to that of Paul 
Pontius, but very inferior. Among other plates by 
him we have a Bacchanalian subject, after Rubens, 
and a similar subject with boys, after Van Dyck ; 
signed D. Brunn, Arg™ sculp. 1628. 

BRUNN, Franz, was an engraver of Strassburg, 
who was working from 1559 to 1596, and chiefly 
devoted to animals and to ecclesiastical and 
humorous figures. There are many of his pro- 
ductions in the Louvre. He is supposed to have 
died in 1620. 

BRUNN, Isaac, who was born at Pressburg about 
the year 1591, was an engraver, designer, and 
printseller of Strassburg. He engraved in the 
manner of Theodor de Bry, and, on account of 
the small size of his prints, is ranked among the 
Little Masters. There is a neatly-engraved plate 
by him of ‘ The Church at Strassburg.’ It is signed 
Isaac Brunn, Argentiensts, xadxoypagovc, A.D. 1615. 
Several others are mentioned by Brulliot in his 

206 


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ae beret * VAT 
pret a: ae bak } 


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Fee 


* 


RY OF 


‘ Dictionnaire des Monogrammes.’ Hesigned _ _ K 
his portraits with the initials J.B., or the BB , 
annexed cipher. ; . 


“ BRUNNER-LACOSTE, Hennr Enats, a painter 
of fruit, flowers, and game, and of landscape, genre, 


and decorative subjects, exhibited frequently at 
the Paris Salon. He died in 1881, aged 43. 

BRUNNER, Leopotp, a pupil of Drechsler, and — 
painter to the Austrian Court, was born at Vienna 
in 1788. He devoted himself especially to the 
production of landscapes on a large scale, and also 
flower-pieces. He died at Vienna in 1866. His 
son, LEOPOLD BRUNNER, who was born at Vienna 
in 1822, died in the same city in 1849, was a 
painter .of landscapes and animals in oil and 
water-colour; he also lithographed after Gauer- 
mann. An Interior of Goat-shed, by him, signed 
L. Brunner, 1849, is in the Belvedere, Vienna. — 

BRUNO, Anrton1o, a native of Modena or Cor- 
reggio, painted at Parma in the manner of Allegri, 
of whom, if he was not a scholar, he was a great 
imitator. He emulated him in his grace, his nature, 
his foreshortenings, and his broad lights; but with — 
a far less correct pencil. He was a contemporary of 
that great genius, as one of his works bears the 
date of 1530. 

BRUNORI, FeperiGo, (or BRUNORINI,) a pupil of 
Damiani, followed the Venetian style of painting. 
His portraits are natural; he was fond of foreign 
drapery, and coloured with a strong effect. In 
some of his compositions he availed himself of 
the prints of Albrecht Diirer. He was living in 
1600. . 

BRUSASORCI. See Deu Ricci. 

BRUSCO. See PoELENBURGH, . 

BRUSSEL, BAREND VAN. See ORLEY. 

BRUSSEL, HermaAnts VAN, a landscape painter 
and etcher, was born at Haarlem in 1763, and died 
at Utrecht in 1815. Among his best etchings is 
mentioned a set of twenty-one landscapes with 
figures. 

BRUSSEL, PAautus THEoDoRUS VAN, a flower 
painter, born at Zuid-Polsbroek, near Schoonho- 
ven, in 1754, was a scholar of Jean Augustin, and 
of H. Meyer of Haarlem. He was first employed 
in the manufacture of tapestry, but afterwards 
devoted his attention entirely to nature, and be- 
came one of the best fruit and flower painters of 
his time. His later pictures are his best, and are 
to be found in some of the richest collections. He 
died at Amsterdam in 1795. 

BRUSSELS, BERNARD OF. 

BRUSSELS, Rocer or. See VAN DER WEYDEN. 

BRUYN, ABRAHAM DE. See DE Bruyn. 

BRUYN, BarrHontomAvs, was born at Cologne 
in the beginning of the 16th century. His early 
works resemble those of the ‘ Master of the Death 
of the Virgin,’ whose pupil he is said to have 
been ; but the paintings executed towards the close 
of his life show a tendency towards copying the 
Italians. Bruyn died in 1556. His masterpiece is 
the wings of a Shrine in the church of Xanten, 
which were completed in 1536. They represent 
on the inside the ‘Lives of SS. Victor, Sylvester, 
and Helena;’ and on the outside the ‘ Virgin and 
Child, with Saints.’ Portraits and historical pic- 
tures by this artist are in the following Galleries : 


See ORLEY. 


Berlin, Gallery, Portrait of Johannes von Ryht, 
Burgomaster of Cologne, 1525; Madonna and Child; 
The Incredulity of St. Thomas. Brunswick, Gallery, 
Two portraits (dated 1539). Brussels, Museum, 
Male portrait, 1543 ; Female portrait, 1537. Cologne, 


ea 
¢ 


_ Museum, Male portrait, 1535. Darmstadt, Gallery, 
_ Female portrait, 1539. Dresden, Gallery, Descent 
from the Cross. Frankfort, Stddel, Male portraits 

a Female portrait. Munich, Pinakothek, St. 
enedict, St. Catharine, St. Maurice, and St. 

_ Barbara; Descent from the Cross. Petersburg, 

Hermitage, Portraits of a man and his three sons; 
Portraits of the wife and one daughter (the lady is 
the same as that in a portrait by Bruyn inthe Museum 
at Cologne). 


BRUYN, Cornetis pz, See Dz Bruyn. 
BRUYN, Nicotars pz. See DE Bruyn. 
BRUYN, Tuopore DE, was a Swiss landscape 
and cattle painter, who settled in England in 
1760. He exhibited for several yearsin the Royal 
Academy, and decorated the chapel of Greenwich 
Hospital. He died in London in 1804. 

_ BRY. See Dz Bry. 

BRYAN, ALFRED, a well-known caricaturist and 
black-and-white artist, born in 1852. He com- 
menced drawing for ‘The Hornet’ in 1872, and 
later became one of the principal and most prolific 
_ contributors to ‘ Moonshine,’ for many years pro- 

viding the weekly cartoon for that paper besides 
other sketches. He also executed work for the 
_ ‘Sporting and Dramatic News, and for the 
__ *Entr’acte.’ He turned out a constant supply of 
_ drawings with great facility, and died in 1899. 
) BRYER, Henry, was a pupil of Wynne Ryland, 
_ and became his partner as a printseller in Cornhill. 

He engraved a few plates, chiefly from the designs 
of Angelica Kauffmann, Among other prints by 
__ him we have a‘ Bacchus and Ariadne,’ and a large 

_- plate of ‘Mars and Venus discovered by Vulcan.’ 
He died in 1799. 

BRYSAKIS, Perros, a Greek historical painter, 
born at Thebes in 1814. He went to Munich in 
1832, and studied in the Academy there, and there 
died in 1878. Amongst his works are : 


Apotheosis of the Greek War of Independence. The 
f Metropolitan blessing the Greek Banners (Munich 
fan Pinakothek). The Camp of Karaiskakis. 


BRYULOV, Kart Pavzoviron, an_ historical 
_ painter, was born at St. Petersburg in 1799. He 
received his first instructions at the Academy there 
under Ivanov, and obtained notice in 1819 by 
a ‘Narcissus.’ In 1823 he proceeded to Rome, 
where he copied for the Czar Raphael’s ‘ School 
of Athens,’ and produced his own picture ‘The 
Last Day of Pompeii,’ now in the Hermitage 
Gallery, which was followed by ‘The Murder of 
Ines de Castro.” He now became court painter, 
as well as member of the Academies of St. Peters- 
burg, Milan, and Bologna. After his return he 
executed a number of genre pictures and portraits 
in oil and aquarella. In 1835 he travelled in 
Greece, Turkey, and Palestine, where he painted a 
number of landscapes which were included in 
Davidov’s ‘Travels.’ Further on he executed an 
‘Ascension of Christ’ in the cathedral of St. 
Petersburg. He died in 1853 at Marciano, near 
Rome. ; 

BUCHAN, Henry Davip Ersxine, Earl of, 
who was born in 1710, and died in 1767, practised 
engraving as an amateur with some success. He 
engraved various views and portraits. 

BUCHHORN, Kari Lupwic BernHarp CaHris- 
TIAN, was an engraver born at Halberstadt in 1770. 
He was a professor of the art of engraving in 
Berlin. He died in 1856. Among his best en- 


PAINTERS AND ENGRAVERS. 


gravings are those of ‘Christ blessing the Bread,’ 
after Dolci; ‘ Martin Luther,’ after Cranach (1806) ; 
and ‘ Psyche and Cupid,’ after Angelica Kauffmann 
1801). 
: BUCK, ApAmM, who was born at Cork, exhibited 
portraits in crayon and oil, as well as miniatures, 
at the Royal Academy very frequently between 
1795 and 1833. He is best known by his work, 
‘Paintings on Greek Vases,’ containing 100 plates 
drawn and engraved by himself, and published 
in 1812. 

BUCK, Samvet, and NatHanien. These brothers 
are known by the great number of plates they 
engraved of views of the antiquities, ruins of 
churches, castles, &c.,in England and Wales. The 
number of their plates is near 500. Samuel Buck 
died in 1779 aged 83; his brother some years 
before him. 

BUCKLER, JoHN CuHEssEL, a painter of land- 
scapes and topographical subjects, was born at Cal- 
bourne in the Isle of Wight in 1770. Early in life 
he was articled to an architect and surveyor in 
Southwark, and afterwards practised those pro- 
fessions on his own account until 1826, when he 
resigned them to his eldest son. In 1797 he pub- 
lished two aquatint engravings of Magdalen Col- 
lege, Oxford, and in 1799 a ‘View of Lincoln 
Cathedral from the South-east,’ and thus originated 
the publication of the series of English cathedrals 
(in plates twenty-four inches by seventeen), which 
occasioned their author a considerable share of pro- 
fessional credit and public reputation. Contempora- 
neously with these, and at intervals until the year 
1819, he published views of many of our finest col- 
legiate and abbey churches, complete sets of which 
are now rare and valuable. In 1827 he published 
‘Sixty Views of Endowed Grammar Schools,’ and 
in 1847 ‘A History of the Architecture of St. 
Alban’s Abbey.’ He exhibited water-colour draw- 
ings at the Royal Academy almost every year 
from 1790 till 1840. Examples are in the South 
Kensington Museum. His death occurred in Lon- 
don in 1851. 

BUCKSHORN, JoserH. See BoKSHOORN. 

BUCOURT, Puitisert Louis bE, a French 
painter and engraver, was born in Paris in 1755, 
and became a pupil of Vien. He executed a 
few plates in mezzotint; the ‘Heureuse famille,’ 
the ‘Benediction de la mariée,’ and the ‘Cruche 
cassée,’ after his own designs. But his attention 
was chiefly given to engraving in aquatint, in 
which he produced his chefs-d’euvre after Carle 
Vernet, the ‘Horse frightened by a Lion,’ the 
‘Horse frightened by Lightning,’ the ‘Strayed 
Huntsman,’ and other subjects. Bucourt, who 
was for some years assisted by his pupil and 
nephew, M. Jazet, died at Belleville in 1832. 

BUDD, George, was an English artist of whom 
little is known. He painted portraits, landscapes, 
and still-life. There is a portrait, engraved after 
him by McArdell, of Timothy Bennett, the so-called 
patriotic shoemaker of Hampton Wick, who suc- 
cessfully opposed the Princess Amelia in obtaining 
a passage through Bushey Park; it was published 
in 1756. 

BUECKELAER, JoacHim, (BEUKELAAR, or 
BEUCKLAER,) was born at Antwerp in 1530. He 
was the nephew of Pieter Aartszen, by whom he was 
instructed. His pictures, like those of his uncle, 
represent market-places, fairs, and the interiors of 
kitchens, with figures, dead game, fish, fruit, &c. 
They were much admired, although so 


A BIOGRAPHICAL DICTIONARY OF ee etn 


states that he was so poorly paid for them that 
he lived in poverty. He is registered in the Guild 
at Antwerp as early as 1560, and he was still 
living in 1573, and if the date on a ‘ Christ healing 
the Sick’ by him in the Hermitage at St. Peters- 
burg is genuine, he was still living in 1575. The 
Munich Gallery has by him a ‘ Fish-market’ and 
a ‘Christ before Pilate, in which the persons wear 
the costume of the time of the painter ; itis signed 
with a B and dated 1561, and in the Belvedere, 
Vienna, is a ‘ Market-place’ of the year 1567. 

BURI, FrrepricH, who was born at Hanau in 
1763, studied first under his father, who was a- 
goldsmith and professorin the Academy of Design 
in Hanau, and then with Tischbein. In 1780 he 
visited Diisseldorf, and two years later went to 
Rome; thence to Dresden, and finally settled at 
Berlin, where he was patronized by the Queen of 
Prussia. He painted historical pictures and por- 
traits. A ‘Cupid triumphant’ by him is in the 
Hague Gallery. 

BURKEL, HeEryreicu, a genre and landscape 
painter, was born in 1802 at Pirmasens, in Rhenish 
Bavaria. He was designed for trade, but devoted 
every spare minute to drawing. His father’s 
house, being an inn, presented him with subjects 
in great variety, and so early as his eleventh 
year he came into conflict with the police on ac- 
count of a caricature of Napoleon. At fifteen he 
entered the law, but at twenty he was incited to 
turn to art, and learned the technicalities of oil- 
painting among friends at Munich, Schleissheim, | 
and in the Netherlands. In time he took to depict- 
ing popular and military scenes, cattle, and land- 
scapes, especially winter landscapes. He spent 
from 1823 to 1832 in Rome, and became on his 
return a popular artist, famous for imagination 
and humour. He was an honorary member of 
the Academies of Munich, Dresden, and Vienna. 
His death occurred at Munichin 1869. Among his 
best productions may be noted: 

Twenty Winter Landscapes in the Tyrol (Paris Ex- 

hilttion, 1867). 
Kighteen Views of the Environs of Rome (Paris Ex- 
hibition, 1867). 

A Troop of Bandits in the Campagna. 

The Overturned Hay-Waggon. 

Return from the Bear-Hunt. 

The Mule-Driver’s Rest. 

The Reception of the Rifle-Winner. 

Italian Landscape and others (in the New Pinakothek, 

Munich). 
A Tirolese Fair (in the Berlin Gallery). 
Landscape near Velletri (in the Berlin Gallery). 


BUFF, SrpastiAn, a Swiss portrait painter, was 
born about 1828. He studied at Munich and Paris, 
and besides portraits painted genre pictures which 
are much sought after. He died at Herisau in 1880. 

BUFFAGNOTTI, Carto ANTONIO, was a painter 
of perspective and theatrical decorations at Bologna: 
and Genoa about 1690. He engraved a series 
of architectural subjects, and decorations for the 
theatre, after F. Bibiena, and others of the same 
kind after M. A. Chiarini. 

BUFFALMACCO. See Buonamico. 

BUFFORD, Rosert. See Burrorp, 

BUGATTI, Zanerro, was living in the 15th 
century, and painted the portraits of Ippolita 
Sforza, sent to France in 1450; and of Bona of 
Savoy, painted for Galeazzo Maria Sforza in 1467, 
In 1473 he painted the portraits of Galeazzo, his 
wife, and his child that are placed in the choir of 
aon ae Milan. His latest known work was the 


frescoes in Santa Maria delle Grazie, Vigevano. © 
Records remain of him up to 1476, but the date of 
his death is uncertain. . 3 

BUGEY, —, a French engraver who flourished 


about the middle of the 18th century, was princi- 


pally employed in engraving portraits for the 
booksellers. There is by him a portrait of Marshal 
de Broglie, on horseback, after Alexis Loir, dated 
1761. 

BUGIARDINI, GiuL1ano, who was born near 
Florence in 1475, first studied in the garden of 
the Medici, where he made the acquaintance of 
Michelangelo, with whom he continued an intimacy 
throughout his life, and with him he entered the 
atelier of Ghirlandajo; he afterwards became an 
assistant of Albertinelli, and was employed by 
Michelangelo in the Sistine Chapel at Rome in > 
1508. Owing to the fact that he worked much 
for other artists, and sometimes completed de- 
signs by them, there is but little originality in 
the works of Bugiardini, though they possess many 
excellent qualities, which have led to their being, 
in some cases, classed under the names of greater 
artists. They display a careful study of the works 
of Raphael, Michelangelo, Albertinelli, and Leo- 
nardo. Bugiardini died at Florence in 1554. The 
following is a list of a few of his most import- © 
ant works, which are usually signed JuL. FLor. ~ 
(Florentinus) : | 


Museum. Madonna and Child, with Saints 
(segned JvL. Fior. Fac.). 
Bologna. Pinacoteca. Marriage of St. Catharine(ségned). 
Florence. Uffizi. Madonna and Child (formerly 
ascribed to Leonardo). 
» Cappella Moria moti of St. Catharine. His — 


Berlin. 


lacin S. Maria most ~mportant work (from a 
Novella. design by Michelangelo). 
London. Vat. Gall. Madonna, St. John, and Angels. 
Lucca, Mansi Collec- Holy Family (signed and dated 
0 


tzon. 1520). 
Modena, Gallery. Madonna and St. John. 


Oldenburg. Gallery. St. Sebastian. 
(See Crowe and Cavalcaselle, 
III. p. 493, et seq.) 


BUGUET, Henri, a French historical and por- 
trait painter, was born at Frésne (Seine-et-Marne) 
in 1761. He was a pupil of David, and painted in 
1817 for the chateau of Pau ‘ Francis I. knighted 
by Bayard.’ His portraits of Louis XVIII. and 
Charles X. have been engraved by Bertrand. He 
died in Paris about 1833. 

BUISEN, A. van, (or BUYSEN,) was a native of 
Holland, and flourished from 1700 till about 1725. 
He was chiefly employed in engraving for the 
booksellers, and appears to have resided some time 
in England, as he engraved a plate represenitng 
‘David playing on the Harp,’ for the octavo 
edition of Cowley’s ‘Poems,’ published in 1700. 
He also engraved some of the plates for the work 
entitled ‘ Figures de la Bible,’ from the designs of 
ree and others, published at Amsterdam in 

BULARCHUS. The earliest picture of which 
the ancient writers have given a description is 
‘The Battle of the Magnesians,’ painted by this 
artist, who appears to have flourished about 720 
years before the Christian era, as, according to 
Pliny, this picture was purehased for as much gold 
as would cover its surface by Candaules, King of 
Lydia, who died about 700 years before Christ. 
After Bularchus we encounter a gap of upwards 
of two centuries and a half in the history of paint- 
ing. It appears, however, that it was practised 


— 


with success in the island of Rhodes, at the time 


a of Anacreon, who lived about 500 years before our 
_ era. That poet, in his twenty-eighth and twenty- 
_ ninth Odes, mentions the practice of the art called 
_ encaustic painting, and that it was effected by 
_ mixing wax with the colours. 

_ _BULLINGER, Jonann Batruasar, a Swiss land- 
_ scape painter, was born at Langnau, in the canton 
_ of Zurich, in 1713. He was first a scholar of John 
_ Simler, but afterwards went to Venice, where he 
_ studied two years under Giovanni Battista Tiepolo. 
_ He first attempted historical painting, but his 
natural genius led him to landscapes, and he be 
came very eminent in that branch of the art. He 
_ afterwards passed some time at Amsterdam, where 
he appears to have studied with attention the 
__ works of the best artists of the Dutch school, par- 
_ ticularly Both and Berchem, whose manner he 
_ imitated. He died at Zurich in 1793. He etched 
_ several plates in a free, painter-like style, the fol- 
iu lowing being the principal: 

_ The Portrait of J. B. Bullinger ; se epse fee. 

_ A Frontispiece, with a number of Genii. 

_ Two Mountainous Landscapes, with figures. 

3 A set of fifty Landscapes; some from his own designs, 
ie ___ and the others after J. F. Ermels and F. Meyer. 

_ A Head; after Le Brun; engraved for Lavater’s Work. 
_ BUMEL, MicHazt, (or BIMeL,) was a German 
engraver of little celebrity. He engraved several 
plates, representing Saints, and other devotional 
_ subjects, which are executed with the graver, with 
_ sufficient neatness, but in a stiff, tasteless style. 

— _BUMOT, ——, was a French historical painter, 
_ who was called ‘The Apelles of Nevers.’ He was 
_ anative of Nevers, and worked at Bourges in 1576, 
for the fétes held upon the occasion of the entry 
_ of the Duke of Alencon. | 

BUNBURY, Henry Witiiam, a designer of 
_ humorous subjects and caricatures, was the son 
of Sir William Bunbury of Mildenhall, Suffolk. 
_ He was born in 1750, and was an occasional exhibitor 
at the Royal Academy, and contributed to Boy- 
_ dell’s ‘Shakespeare.’ His ‘ Florizel and Autolycus 
_ changing garments ’is in the South Kensington 
| Museum. His ‘Hints to Bad Horsemen’ obtained 
| for him great popularity, and the praise of Sir 
_ Joshua Reynolds. He died at Keswick in 1811. 

_ BUNDSEN, Jezss, architectural and landscape 
ainter and etcher, was born at Assens in 1766. 
_ He attended the Academy of Copenhagen in 1786, 
and studied also in Dresden, after which he became 
a teacher of drawing and a painter in Hamburg 
i and Altona. He died at the latter town in 1829. 
_ He chiefly painted views in the vicinity of these 
_ places, as well as interiors of churches. He etched 
_ several plates in outline, and also practised litho- 
_ graphy to some extent. 

BUNEL, Frangois, a French historical painter, 
) flourished at Bloisin 1550. He was a distinguished 
} artist, who painted many religious subjects for 
_ churches. 

) BUNEL, Jacques, son and pupil of Francois 
) Bunel, was born at Blois in 1558. He studied at 
_ Rome under Federigo Zuccaro, and on returning to 
| France was made painter to the king, and worked 
) with Pourbus and Toussaint du Breuil in the smal] 
) gallery of the Louvre, burnt in 1661. He was an 
artist of great merit, and held in much esteem by 
) Henri IV., who employed him at Fontainebleau 
) and other royal residences. He painted ‘The 
} Descent of the Holy Ghost’ for the chapel of that 
| order in the church of the Grands Augustins at 


P 


PAINTERS AND ENGRAVERS. 


Paris, and for the church of the Feuillants an 
‘Assumption of the Virgin,’ now in the Museum 
at Bordeaux, both of which pictures have been 
highly praised. Philip II. of Spain, by whom 
likewise he was esteemed, commissioned him to 
paint for the cloister of the Escorial forty pictures, 
all of which have now disappeared. He died in 
Paris in 1614, . 

BUNNEY, Joun WHARLTON, painter, born in 
1808, was an English artist practising at Venice. 
In 1873, 1879, and 1881 he exhibited views of 
Venice at the Royal Academy. For the last four 
years of his life he was engaged in an elaborate 
and minutely-finished transcript from the west 
front of St. Mark’s, on a commission from °Mr. 
Ruskin. He died at Venice, Sept. 23, 1882. 

BUNNICK, Jacos van, was the brother of Jan 
van Bunnick, and painted battle-pieces with some 
reputation, but was greatly inferior to his brother. 
He died in 1725. 

BUNNICK, Jan van, a Dutch landscape painter, 
was born at Utrecht in 1654. He was a scholar of 
Hermann Saftleven, under whom he studied three 
years; he afterwards visited Italy. He passed 
some time at Genoa, where he formed an acquaint- 


ance with Tempesta, by whom he was assisted in 


his studies. On his arrival at Rome he found 
several of the artists of his country, particularly 
Abraham Genoels and Ferdinand Voet, who re- 
ceived him with kindness. On leaving Rome he 
went to Modena, and the duke appointed him his 
principal painter, and he passed eight years in his 
service. On his return to Holland he was employed 
by King William III., then Prince of Orange, to 
ornament his palace at Loo. He died in 1727. 

BUONACCORSI, Pierro, (called PERINO DEL 
Vaaa, after one of his instructors in art,) was born 
at a village near Florence in 1500 of very indigent 
parents, whom he lost while he was still young. 
He was taken under the protection of an artisan 
named Andrea de’ Ceri, whose house was frequented 
by several young artists of Florence. At an early 
age Perino showed a decided inclination for 
art, and when he was eleven years old was placed 
under the tuition of Ridolfo Ghirlandaio, by whose 
instruction he became an expert and correct de- 
signer. He had made considerable progress, when 
his talents were noticed by Vaga, who conducted 
him in 1515 to Rome, where he had an opportunity 
of studying after the antique, and the works of 
Michelangelo. His merit became known to Giulio 
Romano and Penni, by whom he was recommended 
to Raphael, who employed him in the execution of 
his designs in the Loggie of the Vatican. Such 
was the force and variety of his powers, that he 
was equally successful in assisting Giovanni da 
Udine in the stucco and grotesque ornaments, 
Polidoro da Caravaggio in his antique subjects in 
chiaroscuro, and in executing the Biblical subjects 
from the designs of Raphael. He is ranked by 
Vasari as the greatest designer of the Florentine 
school after Michelangelo; and the partiality of 
that biographer does not hesitate to pronounce him 
the most distinguished of the disciples of Raphael. 
After the death of that master he was employed by 
Leo X. and Clement VII, in conjunction with 
Giulio Romano and Penni, to finish the great works 
in the Vatican. One of his earliest productions 
was a picture painted for the church of San Mar- 
cello, representing the ‘ Creation of Eve,’ in which 
he shows with what success he had studied the 
works of Michelangelo, 

209 


‘ee ee pur 7 ar 
en ee % Ve ea 4 


oer the ae Apa % 


A BIOGRAPHICAL DICTIONARY OF 


- On the sacking of Rome in 1527, compelled to 
flee from the capital, and plundered of all he pos- 
sessed, Perino took refuge in Genoa, where he was 
graciously received by Prince Doria, who employed 
him to decorate his palace, near the gate of St. 
Thomas. It was upon this occasion that Perino 
displayed the extent of his powers and the fecun- 
dity of his invention; and it has been made a 
matter of dispute whether the decorations of the 
Palazzo del Té at Mantua, by Giulio Romano, or 
those of the Doria Palace at Genoa, by Del Vaga, 
do more honour to the great school in which they 
were educated. In one of the apartments Perino 
represented Jupiter destroying the Giants; and in 
others, several subjects from Roman history and 
the Metamorphoses of Ovid. He also designed a 
series of cartoons of the History of Auneas. These 
frescoes, which were in a great measure executed 
from his designs by his assistants, have nearly 
perished owing to time and whitewash. After a 
stay of some years at Genoa, Perino returned to 
Rome, where he was employed by Pope Paul III. 
Towards the close of his life, his pictures were in 
such request that he merely made the designs, leav- 
ing the execution of them to his pupils, among 
whom may be mentioned Pantaleo Calvi and Laz- 
zaro, painters of no great merit. Perino died at 
Rome in 1547—it is said that he hastened his end 
by intemperance—and was buried by the side of 
Raphael and other great masters in the old Pan- 
theon. His pictures are occasionally seen in the 
Galleries of Europe, but they are not very import- 
ant. The Duke of Devonshire has drawings by 
him, and a portrait of Cardinal Pole is at Althorp. 
BUONAMICI, Agostino, called A. Tasst (or 
Tassy), was born at Perugia in 1565, and studied 
at Rome under Paul Bril, although he was desirous 
of being considered a disciple of the Carracci. He 
painted landscapes in the style of his instructor, 
and of Donducci, and was considered one of the 
ablest artists of his time. Lanzi informs us that 
for some crime, which is not mentioned, he was 
sent to the galleys at Leghorn. During the term 
of his confinement he occupied himself in design- 
ing the maritime objects with which he was sur- 
rounded, and after his liberation they became the 
favourite subjects of his pictures. He painted 
with great success sea-ports and calms, with ship- 
ping and fishing-boats. His tempests and storms 
at sea were not less happily represented, and were 
touched with unusual spirit and energy. He also 
excelled in architectural and perspective views, in 
which he distinguished himself by some admirable 
productions in the pontifical palace of Monte Ca- 
vallo, and in the Palazzo Lancellotti. He was one 
of the first to copy arabesques from the antique, 
and employ them as borders. Agostino Tassi has 
the credit of having been the instructor of Claude 
Lorrain. He died at Rome in 1644. We havea 
few slight but spirited etchings by this artist, repre- 
senting storms at sea and shipwrecks. 
BUONAMICO, CrisTorani, (called Burrat- 
macco,) who was born in 1262, was a pupil of 
Andrea Tafi. Rumohr and Kugler and many 
other writers have doubted his existence, but his 
name has been discovered in the register of the 
Florentine Company of Painters, with the date 
1351 (‘Crowe and Cavalcaselle,’ vol. i. p. 387, 
note). Boccaccio nicknames him Buffalmacco, 
and some suppose that the Buonamico, used by 
Ghiberti, is a nickname also. Vasari mentions 
resets by Buffalmacco, few of which. still 
1 


remain, and of these the majority are said to be by 
other artists. 
chose, could paint as well as any of his contempor- 


He adds -that Buffalmacco, when he 


aries. Most absurd stories have been. related of 


this artist. by Vasari, and by Boccaccio in his 


‘Decameron.’ He seems to have been a man with 
a keen sense of humour. Vasari states that he 


died in 1340, but Baldinucci says that he was: still 


living in 1351, as indeed the entry in the register 
of the Florentine Painters proves. = = 

BUONARROTI, MicueLancELo. Michelangelo, 
the supreme master of Italian art, was born at 
Castel Caprese, a small fortified town near Florence, 
on March 6, 1475, The family of Buonarroti was 
an old one in Italy, but Condivi’s statement as to 
Michelangelo's descent from the Counts of Canossa’ 
is not found to be supported by genealogical 
evidence, though Michelangelo and Count Alles- 
sandro da Carnossa pleased themselves with 
believing it. His father Lodovico, son of Leonardo 


Buonarroti Simoni, was: acting at the time of his 


son’s birth as Podesta, or chief magistrate of 


‘Caprese, but he was soon after recalled to Florence, 


where, after a babyhood spent at Settignano under 


‘the care of a stone-mason’s wife, the little Michel- 


angelo was brought up, receiving education at a 
grammar school kept by a certain Francesco da 
Urbino. py aa eee 

His passion for art was early evinced. He had 
imbibed it, he was wont to declare, “with his 
nurse’s milk”; at all events it could not be over- 
come even by blows, which it is said were some- 
times tried, and by the time he was thirteen his 
father, giving up all hope of inducing him to 
follow the more profitable woollen trade, wisely 
acceded to his desire for art, and no doubt did the 
best he could for him by apprenticing him for 
three years from the 1st of April, 1488, to the 
painters Domenico and David Ghirlandaio, whose 
school was at that time the best in Florence. 

It appears by the terms of his apprenticeship 
that the young Michelangelo must even then have 
known sufficient to be useful to his masters, for 
they undertook to pay him a small sum during the 
first year of his apprenticeship, which was not 
usual. Very soon his progress was so great that, 
according to Vasari, it excited his master’s envy, 
who exclaimed once on seeing a drawing made by ~ 
Michelangelo of some scaffolding in Santa Maria 
Novella, “This boy knows more than ‘I do;” 
“standing in amaze,” adds Vasari, “at the origin- 
ality of manner which Heaven had bestowed on 
such a mere child.” His first. painting is said to 
have been an excellent copy of Martin Schongauer’s 
celebrated print of ‘The Temptation of St. Anthony,’ 
in which the details of the devil-forms were coloured © 
from marine creatures studied in the fish-market, 
and he probably copied other forms with equal skill. 

But although educated in a school of painting, it — 
is probable that he early showed some impulse 
towards sculpture, or Domenico Ghirlandaio would — 
scarcely have presented him, as he did before his 
apprenticeship was out, to Lorenzo de’ Medici, who 
at that time had just founded a school of sculpture, 
of which Bertoldo, the foreman of Donatello, was 
keeper, in the garden of his villa. Michelangelo — 
was admitted to this Medicean school or Academy 
of Art in 1489, and achieved as one of his first 
works in marble the remarkable ‘ Mask of a Faun,’ 
a copy from the antique, concerning which Vasari 
relates the story of Lorenzo pointing out to the 
young sculptor that old people seldom retain all 


vo ees) St 
eae 


Sr 
_ their teeth, and Michelangelo promptly acting upon 
the suggestion. Whatever may be the truth of 
this story, it is certain that Michelangelo early 
attracted the notice of the magnificent Lorenzo, 
who saw in him so much promise that he proposed 
to his father that he should become an inmate of 
_ the Medici Palace, offering to charge himself with 
_ his education and to make him an allowance of 
_ five ducats a month. The offer was too good to 
be refused, and Michelangelo passed four happy 
years in the service, or rather we may say in the 
society, of Lorenzo, perfecting himself in his art 
_ and gaining a valuable education by his associa- 
tion with some of the great men whom Lorenzo 
gathered around him. Agnolo Poliziano was one 
_ of these, who took especial notice of the young 
artist, and it was by his advice and instruction, 
according to Vasari, that Michelangelo executed 
__ his relief in marble of ‘ Hercules and the Centaurs,’ 
an early work still preserved in the Casa Buonar- 
roti. It was at this time also that he had his nose 
__ broken by his fellow-student Pietro Torregiani, an 
injury which marked him for life. 
___ In 1492 this pleasant period of instruction under 
____ the Medici was brought to an end by the death of 
____ his munificent patron Lorenzo, and Michelangelo, 
____ then seventeen, returned to his father’s house and 
set up a studio for himself, his first work being a 
statue of ‘ Hercules,’ bought by one of the Strozzi 
family, and afterwards sent into France, but since 
lost to knowledge. 
Piero de’ Medici, who succeeded his father 
_ Lorenzo, was, as history records, a man of totally 
different powers. He extended his friendship to 
Michelangelo, it is true, but he employed him only 
on unworthy commissions, on one occasion even 
____ directing him, it is said, to make a statue of snow. 
i Piero, however, by his vices and misgovernment 
goon disgusted Florence, and Michelangelo, per- 
__ ceiving his downfall was at hand, wisely left his 
____ protection and took his way to Bologna, there to 
__,work on the shrine of San Domenico and wait till 
_ the Florentine storm which he, or perhaps his 
father, noted as coming, was over. 
_‘ When peace was restored Michelangelo returned 
_to Florence, where he executed a figure of a 
_ ‘Sleeping Cupid,’ to which he gave an appearance 
of antiquity, so that it was sold by a dealer in 
Rome to the Cardinal San Giorgio as a genuine 
antique. Thisdeceit, innocently undertaken on the 
ak of Michelangelo, being afterwards discovered 
y the Cardinal, led to his inviting the young artist 
to Rome and assuring him of his protection. 
Michelangelo entered Rome on the 25th of June, 
1496. Here he carved the ‘ Bacchus,’ now in the 
National Museum in the Bargello, and soon after 
the noble ‘ Piet&’ of St. Peter’s, executed between 
the years 1499 and 1500. These works raised him 
_ to the position of the greatest sculptor in Italy, and 
_ when in 1501 he returned to Florence, he received 
@ commission for a great national work, namely, 
_ the colossal statue of David. In this grand statue, 
typical of the deliverance of Florence from her 
enemies, Michelangelo, now arrived at his full 
strength, put forth all his powers. The moment 
chosen for representation is that in which the 
outhful deliverer replies to the taunts of the 
hilistine in the words, “I come to thee in the 
name of the Lord of Hosts,” and the whole bearing 
David is expressive of unshrinking resolution 
and patriotic desire. Well may Florentines be 
_ proud of such a possession. It stood grandly 
P2 


ae 


t oo 3 
ory 


ses 


wing d 


il 
{ 
| ° 


a PAINTERS AND ENGRAVERS. 


before their Palazzo Vecchio, where it was first 
erected, for more than three centuries and a half, 
until in 1873 it was deemed necessary to remove 
it under cover for protection from weather and 
decay. It now stands in the Academy of Fine 
Arts in Florence. Other works of about this time 
are the beautiful round relief in marble in the 
possession of the Royal Academy, an unfinished 
relief of the same subject. 

_ Soon after the triumphant erection of the ‘David’ 
in 1504, Michelangelo received the commission 
for another national work—the painting of one 
wall of the Palazzo Vecchio. Leonardo da Vinci 
was employed for the other wall and had already 
begun his cartoon. The subject chosen by Michel- 
angelo was an incident in the Pisan war, and 
represented Florentine soldiers surprised by the 
enemy while bathing, but he never completely 
finished even the cartoon for this great work, for 
before he could do so he was summoned back to 
Rome in great haste by Julius I1., who, learning 
that Michelangelo was the greatest sculptor living, 
forthwith conceived a desire to secure his services, 
and especially to employ him on a great tomb 
which he contemplated having built for himself. 
The commands of the Pope obliged Michelangelo 
to abandon the commission given him by his friend 
Soderini, then Gonfaloniere of Florence, for the 
painting in the great Hall of Council in the Palazzo 
Vecchio of his beloved Florence. Early in 1505, 
throwing up all his work in Florence, he returned 
to Rome and began his work for “his Medusa,” as 
he called him, Julius II. That imperious poten- 
tate decided to employ him first on his monument, 
and the design for it being completed to his satis- 
faction, he sent the sculptor to Carrara to arrange 
for the necessary blocks of marble. Here he was 
occupied for eight months, and for some time after- 
wards in Rome, whither he brought huge masses 
of marble for the work. Before anything could be 
achieved, however, the ardour of Julius for this 
undertaking had greatly abated, and it was with 
difficulty that Michelangelo obtained the money 
from him to pay the marble-cutters. 

In terrible anger at this, and also at not being 
able to obtain access to his Holiness, who had 
previously been most gracious and friendly, Michel- 
angelo suddenly took flight from Rome, being 
alarmed, it is said, by threats from his enemies of 
personal danger. The Pope ‘sent five couriers 
after him commanding him to return, but he rode 
on without stopping until he was safe on Florentine 
territory. “If you require me in future,” wrote 
the haughty artist to the haughty: Pope, “ you may 
seek me elsewhere than in Rome.” Julius II. was 
not a man to submit to be thus braved by a 
refractory artist, and at last, finding his requests 
and commands unavailing, he wrote to the Signory 
of Florence requesting that he should be sent back 
to Rome, promising at the same time that he 
should go “free and untouched,” for “ we entertain 
no anger against him, knowing the habit and 
humour of men of this sort.” Even then Michel- 
angelo, who seems to have had some fear of 
assassination, refused to trust the Pope’s fair pro- 
mises, and it was not until the Gonfaloniere Sode- 
rini told him plainly that the State would not risk 
going to war on his account that he at last 
returned to his allegiance to the Pope. 

It was at Bologna, which town Julius II. had 
entered in triumph in November 1506, that the 
interesting interview between the Pope as? : 


A BIOGRAPHICAL DICTIONARY OF =” 


“artist took place, in which the latter graciously 


submitted to be pardoned, telling the Pope, how- 
ever, at the same time, that he “felt he had not 
merited the treatment he had received.” 

Julius II., who, as we have seen, “‘ knew the 
habit and humour of men of this sort,” and who 
felt, no doubt, that though he had twenty-four 
cardinals in his train he had but one Michelangelo, 
took no notice of his sulky discontent, but imme- 
diately employed him on a great bronze statue of 
himself to be set up over the church door at 
Bologna. This laborious work, which occupied 
Michelangelo two years, and gost him much 
trouble and vexation, was soon after thrown down 
by the enemies of Julius, and a huge cannon made 
of its metal. 

After this work was accomplished Michelangelo 
went back to Florence in March 1508, hoping 
probably to be allowed to settle there, but Julius 
UI. again summoned him to Rome, though not to 
work on the monument he had before undertaken, 
but instead to begin no less a work than the paint- 
ing in fresco of the vault of the Sixtine Chapel 
in the Vatican. Every one knows how Michel- 
angelo accomplished this stupendous task, but it 
was not without considerable remonstrance that 
he began it, telling the Pope that “ painting was 
not his Art,” and advising him to give the com- 
mission to Raphael. But Julius I]., who was 
probably aware of Michelangelo's achievement 
of the cartoon for the painting in the Palazzo 
Vecchio, would hear of no excuses or delay, and 
the artist was made, as we may say, to begin 
forthwith. 

Vasari’s accounts of the painting of these frescoes 
of the Sixtine is very graphic and circumstantial, 
and is no doubt true in many of its details, though 
in others it is transparently inaccurate. It has, 
however, been followed submissively by all writers 
on the subject until modern research began to 
throw doubt upon its exactness. Heath Wilson 
in particular, who submitted the frescoes of the 
vault of the Sixtine to the most careful examin- 
ation, having been allowed to raise a scaffolding 
five stages high for the purpose, and who also 
made their history the subject of profound study, 
proves by a conclusive chain of reasoning that 
Michelangelo could not possibly have painted 
these works in the short space of time—twenty 
months—that Vasari assigns. This, if the amount 
of labour is once fairly considered, is indeed self- 
evident, but Heath . Wilson shows from docu- 
mentary testimony that Michelangelo began this 
work in the summer of 1508, and did not finish 
it until late in the autumn of 1512, thus giving 
a period of four years and some months, little 
enough even so for the accomplishment of such 
a vast amount of work. The story of his working 
entirely without assistants, ‘‘ without even a man 
to grind his colours,’ must also be given up, 
though it would seem that the amount of assist- 
ance he received wassmall. He worked, however, 
with marvellous celerity, ‘ painting a nude figure 
considerably above life-size in two working days, 
the workmanship being perfect in every part. The 
colossal nude figures of young men on the cornice 
of the vault at most occupied four days each.” 

Julius II. as usual was extremely anxious to see 
the work he had commissioned finished, and got 
so impatient that on the 1st of November, 1509, 
the scaffolding had to be removed and the portion 
of the work that was then finished exhibited to the 

212 


xi 
DA 
fob ae 


public. His enemies, and Bramante in particular, : 
who had hoped to behold a failure, were completely 


overpowered by the universal admiration, and 
Michelangelo received the commission to continue _ 


the work he had begun. 


No description of this marvellous work, in 
which Michelangelo set forth in one great poem _ 
the history of the world in its early prime as 
told in the Book of Genesis, can be given here, 
The reader will find an ample account by Sir 


Charles Eastlake in his ‘Contributions to the 
Literature of the Fine Arts,’ and graphic descrip- _ 
tions by Vasari and numerous other writers, The 


Sixtine frescoes have also been admirably photo- — yf 
The neglect of these 
“Cobwebs hung from 
every part, nails had been driven through them 


graphed of late years. 
frescoes was lamentable, 


without remorse, and they were so darkened by 


the constant smoke from tapers that seen from the aa 
Alto- 
gether,” adds Heath Wilson, who was pathetic on 
the subject, “they are the greatest existing ex- 


floor their real colours were imperceptible. 


amples of barbarous maltreatment and neglect.” 


With Leo X., who succeeded Julius IT. in 1513, 4 
Raphael was the favoured artist. Michelangelo 


wished for nothing better than to be allowed to go 
on with the monument to Julius, for which he had 
already executed the great figure of Moses, and 
the two well-known statues of ‘The Captive,’ now 
in the Louvre, and reckoned among his finest work. 
But although he received a fresh commission for 
this work from the executors of Julius, difficulties 


were always thrown in his way, and finally he was 


sent by Leo X. to Florence and employed upon the 
front of San Lorenzo, which the Pope had deter- __ 
mined to build in a magnificent style. This was 
certainly an important work, and Michelangelo 
determined to make it ‘‘ whether in respect of 
architecture or sculpture the masterpiece of all 


Italy,” as he says in one of his letters; but hewas 


kept so long superintending in the new quarries of 


Seravezza, even making roadstothem,andsomany 


hindrances seem to have been purposely put in 
his way, that in the end nothing was accomplished. 


Indeed the ten years of. Leo’s pontificate were — 7 


almost wasted years in the life of Michelangelo. 


Nor was much accomplished during the short — 4 


reign of Adrian, though Michelangelo for a time 
went on working at the monument to Julius, often 
at his own cost. 


for the superintendence of various architectural 
works, which Michelangelo, who always regarded 
himself as a sculptor, had little wish to undertake. 

In 1527 the terrible sack of Rome under the 
Constable de Bourbon took place. Michelangelo 
was away in Florence at this time, where the 
popular party had again risen and driven out the 
Medici. This being the case, Michelangelo’s com- 
missions for the Medicean Pope remained for a 
time in abeyance, while he with patriotic energy 
undertook the charge of fortifying the city against 
his patron, the Signory having appointed him 
director and provider over the works of defence. 
The new knowledge supplied by the recent publi- 
cation of the Buonarroti letters clears up much 
that formerly seemed inexplicable in his conduct — 
at this time. It is evident that he was greatly 
trusted by the Signory, acting for them not only as 
military engineer, but likewise being entrusted 


with private missions. One of these missions, it 


But when Clement VII. became q 
Pope in 1523 a change took place, and Michel- 
angelo was once more in request, chiefly, however, 


M. A. BUONAROTI 


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appears, took him to Venice before what must be 

_ ealled his flight thither in 1529. When in 1530 
Clement VII., with the aid of the imperial cannon, 

_gave the last blow to the liberties of Florence, or 


rather when the city, which fire and famine had 


been unable to subdue, was treacherously yielded 
to the Medici, Michelangelo, who had returned 
_ from Venice, was in great danger, and was obliged 
to lie concealed for a time in the house of a friend. 


The Pope, however, who, like his predecessor 


Julius I]., seems to have known the value of a man 


of genius, gave him his pardon, and ordered him 


_ to resume his work on the tombs in the Medici 
Chapel in San Lorenzo, upon which he had been 


employed before the siege. He accordingly came 
forth from his hiding-place, and worked, as he says, 


with “morbid haste,” but with saddened heart, 
on the four great recumbent figures of Night, 


Morning, Dawn, and Twilight, and the statues 
of Lorenzo and Giuliano de’ Medici. These are 
generally considered to be his greatest works in 
sculpture. 

In 1534 Michelangelo lost his father, to whom 
and to his brothers most of his letters are written. 
He is seen by these letters to have been always a 
most dutiful and affectionate son, ever considerate, 

atient, and generous towards his family. Both 


: bis father and his brothers constantly depended 


upon him for help, which was given even at a 


for painting. 


time when he had to deny himself to send it. 
Indeed the sardonic old Titan who was so inac- 
cessible to the rest of the world, and who braved 
even the anger of popes, stands forth in his letters 


as a singularly obedient and tender son, who bore 


with exemplary patience the very irritating conduct 
of father and brothers, who were perpetually worry- 
ing him about trivial family disputes and debts. 
On the death of Clement VII. in 1534, Michel- 
angelo’s work in San Lorenzo, though unfinished, 
came to anend. He now again thought that he 
might be permitted to work on the tomb of Julius 
II. for which he had contracted, and which had 
caused him endless worry and regret. But the 
new Pope, Paul III., was possessed of another 
idea, and was determined, now he was Pope, to 


realize it; and Michelangelo, in furtherance of 


this idea, was again obliged to lay aside sculpture 


The world-famous ‘Last Judgment,’ which 
Michelangelo now undertook as the completion of 
the Sixtine frescoes, may be regarded as the final 
expression of his art. In this work all traditionary 
types were cast aside. Christis represented as the 
Avenger, and the lost souls fall before His wrath 
into the abyss ; the joys of the blessed being far 
less apparent than the convulsive struggles of the 
damned. The subject indeed, which had been 
treated with grotesque asceticism by the early 
religious painters, offered a marvellous opportunity 
for the display of naked human form, and as such 
Michelangelo seized upon it, and turned the old 
idea of the Dies ire into a great tragedy of 
humanity. 

The ‘Last Judgment’ has suffered even more 
fatally from neglect than the other frescoes in the 
Sixtine Chapel, and moreover it has been injured 
by repainting, from which the others have been 
preserved by their inaccessible position. It con- 
tains 314 figures, and occupied Michelangelo from 
1535 to 1541. But Michelangelo was now an old 
man, and worked, as he himself says, “‘ unwillingly, 
working for one day, and resting for four.” 


‘among us, 


———— ea PAINTERS AND ENGRAVERS. 


This was almost the last great work in painting 
that he was called to undertake: though he after- 
wards consented to paint two frescoes in the 
Pauline Chapel of the Vatican representing the 
‘Conversion of St. Paul’ and the ‘ Martyrdom of St. 
Peter.’ In 1546, at the age of seventy-one, he was 
appointed by Paul III. chief architect of St. Peter’s, 
an office which he continued to hold under four 
other popes. The great dome of St. Peter’s was 
raised from his plan. 

All his poems, for he was a poet as well as a 
sculptor, painter, architect, and engineer, express 
a longing for the release of death, but it was not 
until he had reached his ninetieth year that this 
release came to him. He died at Rome on the 
18th of February, 1564, and was buried by his 
own desire at Florence. 

Michelangelo was a man of melancholy tempera- 
ment, and subject to violent outbursts of righteous 
anger which made him more feared than loved by 
those who did not know him well. Dwelling alone 
with his own great thoughts, he became impatient 
of interruption and contradiction, and ofttimes ex- 
pressed himself with a bitterness which made him 
many enemies. No woman’s name is in any way 
associated with his, with the exception of that of 
the noble Princess Vittoria Colonna, whose sym- 
pathetic friendship cheered the later years of his 
life. His life was a stormy one, no less from 
miserable personal disputes than from the stirring 
times in which he lived and took part. He felt 
deeply the ruin of the liberties of Florence, as — 
evinced by his reply to some verses affixed to his 
statue of ‘ Night,’ in which he makes the statue 
say, “Sleep is dear to me, and still more that I am 
of stone, so long as dishonour and shame last 
The happiest fate is to see nothing and 
feelnothing. Therefore awake me not. Speak low.” 

Of the art of Michelangelo all may judge. It 
needs long study before its masterly power is per- 
fectly comprehended. All that the progressive 
artists of Florence had been striving after since 
the time of Masaccio was attained by him. He 
was influenced but not dominated by classic art. 
Like the great Greek artists before him, he seized 
on the nude human body as the best means of 
displaying the highest perfection of artistic beauty. 
While Titian and Correggio were seeking this per- 
fection in sensuous loveliness, Michelangelo sought 
it in physical force, and by a daring and a know- 
ledge such as no artist had ever before displayed, 
achieved his aim to the admiration of all succeed- 
ing ages. Power and intellect are the two qualities 
that mark his style, a profound knowledge of 
nature, and careful study of the living model, 
yet no servile copying even of nature, for he often 
violated rules of proportion, placed his figures in 
constrained and unusual positions, and in other 
ways rejected the teachings of science, if this was 
necessary for the expression of his idea. For 
Michelangelo was perhaps the greatest of idealists. 
His figures live by virtue of the life he has infused 
into them, and remain as the grandest creations of 
Italian art. 

It does not come within the scope of this work 
to enumerate all his great works in sculpture and 
in architecture ; many of them have, however, been 
mentioned in this article. Of those he executed in 
painting, the principal are ; 

Copy of Martin Schongauer’s St. Anthony, 

reputed picture; now lost. 


Circular Madonna and Child, painted for cee ee 


His first 


A BIOGRAPHICAL DICTIONA 


in 1504; now in the Uffizi at Florence. The best 
known perhaps of all his pictures, having been con- 
stantly reproduced. 

The Madonna and Saints; in the National Gallery. 
Early work. Unfinished, and of doubtful authenticity. 

The Entombment; zn the National Gallery. Unfinished, 
and of doubtful authenticity. 

Cartoon of Pisa; an incident in the battle of Cascina. 
1504. This noble work, which was never completely 
finished, was destroyed by some means at an early 
date, and the fragments scattered in various collec- 
tions; but the story Vasari tells of its having been 
torn to pieces by Baccio Bandinelli is unworthy of 
credit. Portions of it were early engraved by Marc- 
Antonio and Agostino da Venezia, and in later years 
the central part of the composition has been engraved 
by Schiavonetti, from an excellent copy in grisaille, 
which still exists in the possession of the Earl of 
Leicester at Holkham. It is from this that the 
numerous reproductions of this subject are taken. 

Fresco paintings in the Vault of the Sixtine Chapel, 
representing the various acts of creation ; the Tempt- 
ation and Fall of our first parents; the Deluge, and 
the Sacrifice and Drunkenness of Noah; also the 
Genealogy of the Virgin in the spandrels above the 
windows, and four historical subjects from the history 
of the Jews, in the corner soffits of the ceiling. The 
twenty figures, called athletes, and other figures in 
the framework. The seven figures of the Prophets, 
and the five Sibyls who sit enthroned in niches round 
the vault, are generally regarded as the highest 
conceptions of Michelangelo’s art. 

The Leda, painted about 1530 for the Duke of Ferrara, 
but not sent to him. The history of this picture is 
very confused. Vasari states that Michelangelo pre- 
sented it to his pupil Antonio Mini because “ he had 
two sisters to marry.” It seems to have been sold 
by agents to Francis I., and to have remained at 
Fontainebleau until the reign of Louis XII., when it 
is said to have been destroyed by order of the 
Confessor of Desnoyers. Its destruction, however, 
is by no means certain, and it is probable that it 
passed in a mutilated condition into England. A 
painting of this subject is now in the National Gal- 
lery, and is considered by M. Reiset, the learned 
director of French museums, to be the one actually 
painted by Michelangelo, but greatly restored. A 
Cartoon of the Leda, a copy, but a very fine work, is 
in the possession of the Royal Academy. 

The Last Judgment: fresco in the Sixtine Chapel of 
the Vatican. 

Two frescoes in the Pauline Chapel in the Vatican— 
The Conversion of St. Paul and the Crucifixion of St. 
Peter. 1549—1550. 


Other works in painting were doubtless executed 
by Michelangelo, but no others are known to be 
certainly by him, the pictures that pass with his 
name in galleries being generally executed by 
pupils and followers from his designs, which he 
was very liberal in bestowing upon good painters. 

Numerous drawings by Michelangelo are to be 
found in various collections, especially in England. 
There are fifteen in the British Museum, thirty 
at Windsor, and seventy at Oxford. 

The following books should be consulted : 


Vasart. Vita del gran Michelangelo Buonarroti. 1568. 
Milanesi edition of the Lives, in 1880. 

Condivi. Vita di Michelangelo. 1553. Both these 
were contemporary biographies by pupils. 

Vignali. Vita diM. A. Buonarroti. 1753. 

Hauchecorne, Vie de Michelange, etc. 1783. 

Duppa. Life of Michael Angelo. 1806. 

Linnell. Frescoes in the Sistine Chapel. 1834. 

J. E. Taylor. Michelangelo considered as a philo- 
sophic poet. 1840. 

Hermann Grimm. Leben Michel Angelos. 1860. Trans- 
lated into English in 1865. 

Aurelio Gotti. Vita di Michelangelo Buonarroti, nar- 
rata con l’aiuto di nuovi documenti. 1875. 


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arroti. My 
Ch. Heath Wilson. 


ef, oF 

Le Lettere di Michelangelo Buon- 
Life and Letters of Michclangelsal 
Buonarroti. _ Re 
These last three works, by the publication of the docu- 
ments and letters in the Casa Buonarroti, have added — 
materially to our knowledge of Michelangelo’shistory. _ 
C. C. Black. Michael Angelo Buonarotti, Sculptor, — 
Painter, Architect. 1875. an 
J. oe ee. The Life of Michelangelo Buonarroti. _ 


: ‘G 
Holroyd, C. Michel Angelo. 1903. 
Sutherland-Gower, Lord Ronald. Michel Angelo. 1903. 

- M.M.H.&C.H, (revision). 


BUONASONE. See Bonasone. 

BUONAVENTURA. See Srena. . “4 

BUONCONSIGLIO, Giovanni, called In MARES- 
CALCO, a native of Vicenza, painted in tempera, 
in the first part of his career, in the style of Mon- 
tagna; but afterwards he turned his attention 
towards oil-colours, and became a disciple of Anto- __ 
nello da Messina, whom, it is said, he assisted in 
several of his works. He subsequently became 
almost Titianesque in warmth of colour. Buon- 
consiglio laboured chiefly at Vicenza, Venice, and 
the neighbourhood. He was living as late as 
1530 at Venice, for the churches of which city he 
painted numerous altar-pieces, many of which 
have unfortunately perished. The following are 
his principal works now extant : 


London. Holford Gall. Lady with man in armour. a 
ae Butler Coll. The Mistress of Giorgione (so 
called). , 
Bi Ward Coll. Ecce Homo. 
Montagnana. Cathedr. Virgin and Child (signed and dated 
1511). 


St. Catharine (signed and dated 
1513). _ 
Comune. Madonna with six Saints (signed). _ 
Louvre. Ecce Homo. | a 

Academy. Fragments of a work painted in 

oil for SS. Cosmo e Damiano : 
alla Giudecca, representing 8S. 
Benedict, Tecla, and Cosmo 
(signed and dated 1497). 
3 Gesuatz. Christ between SS. Jerome and 
Secondo (signed ‘JOANES BO- 
NICHOSILIS DITO MARESCHAL- 
CHO. P.’). 
» S. Giac. del? Orio. St. Sebastian (signed). 
Gallery. Virgin and Saints mourning over 
the dead body of Christ. Signed. 
Tempera (painted for San Bar- 
tolommeo, Vicenza). . " 
re S. Rocco. Virgin and Child, with Saints 
(stgaed and dated 1502). 


BUONFIGLIO. See BowFiatt, 

BUONFRATELLI, APOLLONIO, @ miniature 

ainter of Florence in the 15th century. 

BUONI, B. and 8. pz’. See Dr’ Buont. 

BUONI, FroriAno, (or Bonis,) an engraver, was 
a native of Bologna, and flourished about the year 
1670. Among other prints he produced a plate 
representing a ‘Dead Christ, with the Virgin Mar 
and St. John,’ after Guercino, Itis executed with 
the graver in a dark, heavy style. His name 1s 
also affixed to a portrait of Guido Rent. ; 

BUONINSEGNA, Duccio p1, was born at Siena 
about 1260. He was the first of his school to 
throw aside the Byzantine style and to strive to 
imitate nature. In 1285 he entered into a contract 
to paint, for 150 florins, an altar-piece for the 
chapel of the Virgin in Santa Maria Novella at 
Florence, but no record of the picture exists ; and 
in the autumn of that year he was in Siena. His 
master-piece, which still exists, is the high altar- 

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Venice. 


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"piece in the Cathedral of Siena. It occupied him 


from the 9th of October, 1308, till the 9th of June, 
1310, when it was carried with great pomp—like 
the Madonna of Cimabue—to the cathedral. 

For this great work Duccio received only sixteen 
soldi (or pence) a day, but the materials, which 
were very costly, owing to the amount of gold 
and ultramarine used, amounting to upwards of 
3000 gold florins, were supplied for him. As the 
high altar was open all round, Duccio painted 


pictures on both sides. The front represented the 


‘Virgin and Child,’ with numerous saints and 
angels, and four bishops kneeling in front. On 
the back were twenty-six scenes from the life of 
our Lord, from the ‘ Entry into Jerusalem’ to the 
‘ Meeting at Emmaus,’ It was removed from the 
altar, in the early part of the sixteenth century, to 
make room for a tabernacle, and then, after having 


been divided, the halves were placed at either end 


of the transept, where they still remain. A 
‘Madonna and Child, with saints and angels,’ by 


_him is in the National Gallery; and two pictures 


of similar subjects by him are in the Academy at 
Siena. We have no record of Duccio later than 


1320 


BUONTALENTI, Bernarpo, called DELLE GI- 
RANDOLE, was a painter, sculptor, and architect 
who was born at Florence in 1536. When he was 
eleven years of age his parents were ruined by a 
sudden inundation of the Arno, and he was taken 
under the protection of Cosmo I., Grand Duke of 
Tuscany, who caused him to be educated in the 
best manner. He is said to have been instructed 
in painting by Salviati and Bronzino, in sculpture by 
Buonarroti, in architecture by Giorgio Vasari, and 
to have learned miniature painting under Giulio 
Clovio. With such advantages it is not surprising 
that he became eminent. e executed a number 
of miniatures for Francesco, the son of Cosmo I. 


-He was more celebrated as an architect than a 


painter, and was much employed in fortification. 
He was also a great mechanic, and an excellent 
mathematician. His own portrait, by himself, is 
in the Uffizi at Florence. He died in 1608. 

BURANI, Francesco, was an Italian designer and 

engraver, born at Reggio, by whom we have an 
etching of ‘ Bacchus sitting near a Tun, with three 
Satyrs,’ executed in the style of Spagnoletto. 
- BURATTI, Grrotamo, a painter of Ascoli, lived 
about 1580. He painted the beautiful picture of 
the ‘Presipio,’ at the Carita, in Ascoli, and some 
subjects in fresco, which have been highly com- 
mended. 

BURCH, AELBERT VAN DEN. 
BuRcH. 

BURCH, J. H. vAN pER. See VAN DER BURCH. 

BURCHARD DOERBECK, Franz, who was 
born at Fellin in 1799, had a great talent for comic 
pieces, and commenced by drawing for the ‘ Ber- 
liner Witze,’ (‘Berlin Wit’),—depicting scenes 
from the life of the lower classes at Berlin. There 
are some valuable plates by him. He died at 
Berlin in 1835. 

BURCHETT, Ricuarp, was born at Brighton 
in 1817. He entered the School of Design at 
Somerset House about 1841, and was one of the 
students who headed the movement which led 
to the establishment of the Department of Prac- 
tical Art. He was appointed an assistant master 
in the school in 1845, and head master in 1851. 
As such, he saw the migration of the school to 
Marlborough House, and superintended its estab- 


See VAN DEN 


~ 


PAINTERS AND ENGRAVERS. 


lishment at South Kensington. Amongst his 
pictures, which are of a scriptural and historical 
nature, may be cited, ‘Edward IV. withheld by 
Ecclesiastics from pursuing Lancastrian fugitives 
into a Church,’ scene from ‘Measure for Mea- 
sure, and ‘Expulsion of Peasants by William 
the Conqueror in laying out the New Forest.’ 
Mention should also be made of the portraits 
of the Tudor family, executed by himself and his 
pupils, which decorate the Houses of Parliament, 
and of his text-books of ‘Geometry’ and ‘Per- 
spective,’ He died at Dublin in 1875. Amongst 
his pupils at South Kensington may be named 
Miss Elizabeth Thompson (Mrs. Butler), S. L. 
Fildes, A.R.A., and W. W. Ouless, R.A. 

BURCKER, Gaztano, of Bologna, laboured in 
Milan in the first quarter of the nineteenth century. 
He died in 1828, A Landscape by him is in the 
Milan Gallery. 

BURCKMAIR, Hans. See Burekmatr. 

BURFORD, Robert, a painter of panoramas, 
was born in 1792. The subjects treated of by him, 
or under his direction, many of which were from 
sketches taken on the spot by himself, included 
almost every part of the habitable globe, and were 
often heightened in interest by the representation 
of battles or other important events. He had the 
management of the Royal Panorama in Leicester 
Square from 1827 till his death in 1861. 

BURFORD, Tuomas, an English mezzotint en- 
graver, was born about the year 1710. He executed 
a few plates of landscapes and huntings, but was 
best known as an engraver of portraits. He died 
in London about 1770. We have by him: 

Dr. Warburton ; after Philips. 

The Rev. Roger Pickering, F.R.S. 1747. 

Mr. Charles Churchill; J. H. Schaack pin. 

Vice-Admiral John Norris. 

BURG, ADRIAAN VAN DER. See VAN DER Bure. 

BURG, Dirk vAN DEN. See VAN DEN Bure. 

BURGAU, P., who flourished at Vienna about 
1750, was a painter of birds and flowers. Two 
pictures of birds by him are in the Belvedere, 
Vienna. His brother, J. M. Bureau, who resided 
at Linz about 1743, painted hunting scenes and 
birds. 

BURGESS, JoHN Baanotp, son of W. H. 
Burgess, landscape painter to William IV., was 
born at Chelsea in 1829, and in 1851 entered the 
Schools of the Royal Academy. Of his pictures, 
which represent scenes from Spanish life, the most 
important are:—‘ Bravo Toro,’ 1865 ; ‘Stolen by 
Gipsies,’ 1868; ‘The Barber Prodigy, 1875 ; 
‘Licensing the Beggars: Spain, 1877; ‘The 
Letter-writer, 1882; and ‘An Artist's Alms- 
giving,’ 1886. Burgess was elected an associate 
of the Royal Academy in 1877, and an academician 
in 1889. He died in London in 1897. 

BURGESS, JoHN Cart, a painter in water- 
colours, exhibited at various intervals flower-pieces 
and landscapes at the Academy and the Suffolk 
Street Gallery, and published, in 1811, ‘A Practical 
Treatise on the Art of Flower Painting.’ He died 
at Leamington in 1863. } 

BURGESS, Tuomas, who learned his art in the 
St. Martin’s Lane Academy, sent pictures to the 
exhibitions of the Incorporated Society, of which 
he was a member, and to the Royal Academy. His 
works date from 1766 till 1786; they are conversa- 
tion pieces, historic works, portraits, and landscapes. 
He kept for some years an Art School in Maiden 
Lane. 215 


1765. 


Me NE oy Pere gee ee ee 


\ 


BURGESS, THOMAS, a landscape panier exhib- 
ited at the Royal Academy from 1802 till 1806. 
He died, in the following year, in London, at the 
early age of twenty-three. 

BURGESS, WiL.i4M, a son of Thomas Burgess 
(of the Maiden Lane Academy), and also a teacher 
of art, exhibited portraits and conversation pieces 
at the Free Society of Artists and the Royal Acad- 
emy from 1769 till 1799. He died in London in 
1812, aged 63. His son, H. W. Burasss, was 
landscape painter to William IV. 

BURGESS, WILLIAM, an engraver, practised his 
art about the end of the eighteenth century. He 
executed a set of plates of Lincolnshire churches, 
and of the cathedrals of Lincoln and Ely. He died 
in 1813, aged 58, at Fleet, Lincolnshire. 

BURGESS, WILLIAM OAKLEY, an engraver, 
became early in life a pupil of Lupton, the well- 
known mezzotint engraver, under whose instruc- 
tion he remained until twenty years of age. Some 
of his best productions are plates after the works 
of Sir Thomas Lawrence, published in the ‘ Law- 
rence Gallery.’ He also engraved a large plate 
after Lawrence’s portrait of the. Duke of Welling- 
ton, remarkable for its admirably graduated tones, 
and the last works on which he was employed 
were three other portraits after Lawrence — Sir 
John Moore, the Duchess of Northumberland, and 
the Archbishop of Canterbury. The extraordinary 
delicacy which characterizes the work of this artist 
must have acquired for him the highest reputation 
in his art, had his life been spared. His death, 
which took place in 1844, whilst in the prime of 
life, was occasioned by an abscess in the head, sup- 
posed to have arisen from a blow of a skittle-ball 
some years before. 

BURGH, H., was an English engraver, who lived 
in London about the year 1750. He worked prin- 
cipally for the booksellers, and was chiefly em- 
ployed in engraving portraits, among which is 
that of ‘ Thomas Bradbury, Minister of the Gospel,’ 
from his own design: it is inscribed H. Burg. 
del. et sculp. 

BURGHERS, MicHAEL, was a Dutch engraver, 
who settled in England on the taking of Utrecht 
by Louis XIV. He resided chiefly at Oxford; 
and on several of his plates he added to his name 
Academie Oxon. calcographus. From the great 
number of his prints, it is probable he was em- 
ployed by the booksellers, as well as for the 
University. He worked almost wholly with the 
graver, in a stiff, tasteless style. He has the merit, 
however, of having preserved to us many remains 
of antiquity which would otherwise have been 
lost.. He engraved the plates for the Almanacks of 
the University, the first of which, by him, was in the 
year 1676. His most esteemed prints are his anti- 
quities, ruins of abbeys, and other curiosities. He 
engraved also several portraits and plates 
for the classics.’ He sometimes marked his VB 
prints with the annexed monogram. The 
following are the principal: 


Illustrations to Dr. Plot’s ‘ Hist. of Staffordshire.’ 1686. 

Illustrations to Dr. White Kennet’s ‘ History of Am- 
broseden.’ 

William Somner, the antiquary ; after Van Dyck. 

Franciscus Junius ; after the same. 

John Barefoot, letter doctor to the University. 1681. 

Head of James II.; for an Almanack. 1686. 

Anthony 4 Wood; ‘in a niche; his only mezzotint. 

King Alfred; from a MS. in the Bodleian Library. 

Sir Thomas Bodley ; in the Corners of the plate are 
the Heads of the other Benefactors of the Library: 


216 


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A BIOGRAPHICAL DICTIONARY OF 


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William, Earl of Pankow achat Toni: Sir 
Kenelm Digby, and John Selden. 


Timothy Hatton, provost of Queen’s College. — 3s ata 
1699. 


Dr. Wallis. 

Sir Thomas Wyat. 

John Baliol. 

Devorguilla, his spouse. . SG 
Dr. Ratcliff. 


The Visage of Christ ; engraved in the manner of Mel- ao 


lan, with one stroke. 


BURGKMAIR, Hans, a German painter and en- 
graver, was born at Augsburg in 1473. He was the 
son of Thomas Burgkmair, a painter, to whom he 


owed his education as an artist, and was followed | 


in the same profession by his son Hans, Hans the 


elder was, however, the great artist of the family, 
the friend and fellow-labourer of Albrecht Diirer in 
the service of the Emperor Maximilian I. In his 


native city are preserved several of his pictures, 
which possess considerable merit. His prints are 


principally, if not entirely, on wood, and are de- 
signed with extraordinary spirit and fire. Indeed @ 


the endless imagination, and richness of sugges- 


tion, as well as truth to the life of his time, and | 


dramatic value to be found in many works, place 
him in the highest rank of the illustrative artists 
of the world. His cut in chiaroscuro of the Em- 
peror Maximilian I. on horseback is dated in 1518 ; 
and it has been very probably supposed by Pro- 
fessor Christ that the fine wood-cuts marked J. B., 


dated 1510, in the old edition of the works of Geyler 


de Keyserberg, are designed by this 
artist. His prints are very numerous. 
He sometimes marked them with the h a Wa 
initials HZ. B., in capitals ; sometimes 
thus : 
The following is a general list of his prints : a 


The Emperor Maximilian on Horseback; with his 
name. 

The same print in chiaroscuro; dated 1518 ; scarce. 

Hans Baumgartner, Counsellor of the Emperor. A 
chiaroscuro of rare excellence. 

St. George on Horseback; in chiaroscuro, with the 
name of Negker. 


His greatest work is‘The Triumph of Kaiser Max,’ 


in 135 successive prints, showing all the various _ 


countries and princes subject to the emperor, with 
their heraldry; all the different corps of cavalry 


and foot in his service, the guilds with their office- 


bearers, &c., &c., a most interesting series of his- 
torical designs. "His work next in importance to 
the ‘Triumph’ is ‘ Der Weiss Kunig. Ein Erzahling 
von den Thaten Kaiser Max des ersten.’ ‘This con- 
sists of 237 pieces, nearly all of them admirably 
invented and drawn. ‘Third, ‘The Genealogy 
of the Emperor, a set of separate figures of the 
ancestral princes and others. The saints, male 
and female, related to the imperial family may be 
considered fourth in importance, in number 119 
prints. Besides these, he did 68 of the illustrations 
(71 in number) to the ‘ Chronicle of the Family of 
the Counts Truchsess de Waldburg ;’ 33 of those 
for the ‘Schimpff und Ernst,’ a book containing 
40 engravings ; 104 admirable designs for a German 
translation of the ‘Offices’ of Cicero published in 
Augsburg by Heinrich Stayner, 1531; six for the 
‘Lives of SS. Ulrich, Symprecht, and ‘Afra,’ Augs- 
Above all these in 
varied interest are his designs, 260 in number, for 
the German translation of Petrarch’s prose treatise 
on Fortune, ‘Glucksbuch, beydes dess Giiten und 
Boézen,’ published first ic Augsburg and a few 
years later in Frankfort, His single prints are 


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also numerous, so that he must be considered one 


_ of the most prolific as well as able of the early 
German school. Bartsch mentions only one etching 


by him, ‘ Venus and Mercury,’ a small print on iron. 


_ For lists and comments on his works see Nagler’s 


_ *Kinstler Lexicon’; Bartsch, Le ‘ Peintre-Graveur,’ 


vol. vii. ; Passavant, vol. iii. We us. 

~ BURGKMAIR, Toman, or Tuomas, the father 
of Hans Burgkmair, and the father-in-law of Hans 
Holbein the elder, is mentioned in the records of 


the Painters’ Guild at Augsburg in 1460, and in 


public documents there in 1479. He painted in 
1480 a ‘ Christ with St. Ulric’ and a ‘ Virgin with 
St. Elizabeth of Thuringia,’ both in the cathedral 
at Augsburg ; the gallery of that city also possesses 
a picture by him of the ‘ Martyrdom of St. Stephen, 
St. Lawrence, and scenes from the Passion.’ Burgk- 
mair died at Augsburg in 1523. 

‘BURGOS y MANTILLA, Francisco, the son 


of a lawyer, studied painting under Pedro de las 


Cuevas, and afterwards with Velazquez. Dis- 
tinguished for his, portraits, he painted many 
persons of rank at Madrid about 1658. IsipoRo 
DE Buraos y MANTILLA, probably a relative of 
Francisco, painted in 1671 a series of portraits of 
the Kings of Spain, from Henry II. to Charles II. 


inclusive, for the guest-chamber of the Chartreuse 


of Paular, according to Cean Bermudez, of grace- 
ful design and agreeable colour. He was also a 
poet, and printed a romance in honour of the 
statue of San Miguel in the Escorial by Luisa 
Roldau. 

BURGT. See VAN DER Borer. 

BURINO, Antonio, who was born at Bologna in 
1656, was a scholar of Domenico Canuti, and also 
devoted much time to the study of Paolo Veronese. 
He proved a very reputable historical painter. 
Many of his works were in the churches and 
palaces at Bologna, the following among them: 
‘The Crucifixion’ in San Tommaso dal Mercato ; 
‘ David with the Head of Goliath’ in the sacristy 
of San Salvatore; and ‘The Martyrdom of St. 
Catharine’ in Santa Caterina de Saragozza. He 
also painted a saloon for the Palazzo Legnani, and 
this has heen very highly spoken of. He died 
in 1737. His Portrait by himself is in the Uffizi, 
Florence. 

BURKE, THomas, an engraver, who was born 
in Dublin in 1749, adopted the style of Bartolozzi, 
in the chalk manner, and occasionally that of 
Earlom. He was a pupil of Dixon, and engraved 
chiefly after the works of contemporary artists, 
particularly Cipriani and Angelica Kauffmann. He 
died in London in 1815. His engravings are gen- 
erally printed in red or brown colours, and are 
dated from 1772 to1791. The following are the 
principal : 

Telemachus at the Court of Sparta; after Ang. Kauff- 

mann. 1778. 

Andromache at Hector’s Grave ; after the same. 

The Battle of Agincourt ; after Mortimer. 

King John signing the Magna Charta; after the same. 

The Nightmare ; after Fusel?. 

Portrait of Mrs. Siddons ; after Dance. 

Portrait of Lord North ; after the same. 


BURKHARDT, Jacquss, studied at Munich and 
in Rome. He accompanied Agassiz in his cele- 
brated researches on the glaciers of the Aar, and 
illustrated many of the works of that professor. 
He died at Montreal in 1867, 

BURNE-JONES, Sir Epwarp, Baronet. Ep- 
WARD CoLey Burne, as he was christened, the 


PAINTERS AND ENGRAVERS. 


only son of Edward Richard Jones and _ his 
wife Elizabeth Coley, was born at Birmingham, 
August 28, 1833. He was sent in 1844 to King 
EKdward’s School in the same city, where he studied 
to so good purpose, that in 1852 he won an ex- 
hibition which enabled him to enter Exeter College, 
Oxford, to which he went the same year, his 
father’s wish and his own intention being that 
he should eventually be ordained as a minister 
of the Church of England. The pictorial work 
of Dante Gabriel Rossetti, however, with which 
he became acquainted first through an illustration 
to William Allingham’s ‘ Elfin Mere,’ and later 
at the house of Mr. Combe, the director of the 
Clarendon Press, so aroused his enthusiasm that 
he resolved finally to abandon his proposed career 
and devote himself to art. In 1855 he went to 
London and made the acquaintance of Rossetti, 
on whose recommendation he left the University 
without taking his degree, and, after a brief period 
of study in that artist’s studio, began in 1856 the 
serious work of his life without further instruction, 
though for a long time under the frequent super- 
intendence and with the constant advice of his 
only master. He settled to begin with at 17, Red 
Lion Square, where his earliest works, mostly in 
pen-and-ink and water-colours, were carried out. 
In the autumn of 1858 he returned to Oxford, no 
longer as a member of the University, but as a 
collaborator with Rossetti, and other artists under 
his influence, in an extensive scheme of decoration 
for the reading-room of the Oxford Union, to which 
he contributed a painting of Merlin and Nimue, 
a work which, together with its companions, time 
has rendered utterly unrecognizable. In September 
1859 he paid a visit to Italy and studied the works 
of the Italian masters at Florence, Siena, Pisa 
and elsewhere. On returning to London he re- 
moved to Russell Place, Fitzroy Square, and on 
June 9, 1860, was married to Miss Georgiana 
Macdonald in Manchester Cathedral. In 1861 he 
moved to Great Russell Street, and again, in 1865, 
to Kensington Square. In the meantime so re- 
solved had been his application and so steady his 
progress that in 1863 he was elected an associate 
of the Royal Society of Painters in Water-Colours, 
to whose Gallery he was a frequent contributor 
during the following years. In 1867 he changed 
his residence once more and for the last time, 
removing to the Grange, North End Road, Fulham, 
a picturesque old house, at one time occupied by 
Samuel Richardson, which he continued to inhabit 
till his death. He retired from the Water-Colour 
Society in 1870, in consequence of a misunder- 
standing, and thenceforward, with the exception 
of a solitary reappearance with two pictures at 
the Dudley Gallery in 1873, was unknown as an 
exhibitor, and, to a large section of the public, 
even asan artist, until the opening of the Grosvenor 
Gallery in 1877, which, containing an important 
representation of his completed work, brought 
him once for all into popular notice, if not at once 
into popular estimation, in his native land at least, 
for the French critics to whose attention his work 
was introduced for the first time at the Exposition 
of 1878 received it at once with unqualified 
approval. Yet, though his first general reception 
was indisputably a mixed one, the public and 
expert appreciation of his art continued to grow 
rapidly and uninterruptedly. He was. presented 
with a fellowship by his old college in Oxford, 
and at the Encenia of that University ie bess 


7 ~ ~ ~~ Tele . ~ < — | oe i: 


A BIOGRAPHICAL DICTIONARY OF - : a 
(1896) ; ‘The Prioress’ Tale? (1869-1898), his Inst 


the honorary degree of D.C.L. was given to him, 
while in 1882 he and Lord Leighton alone among 
British artists were invited by the French Govern- 
ment to represent their country at the International 
Exhibition of Contemporary Art. In June, 1885. 


much interest was aroused’ by the prices paid for | 


his works at the dispersal of Mr. Ellis’ collection’ 
by auction, and in the.same month the Royal 
Academy elected him an associate,, from which 
position, however, he retired in 1893. A second 
sale, in 1886, that of Mr. William Graham’s pictures, 
more than confirmed his advance in the opinion. 
of connoisseurs. and helped greatly to secure it in. 
that of the outside public. He ceased to exhibit 
at the Grosvenor Gallery in, 1888, reserving his. 
contributions for the New Gallery in the future, | 
and in the same year he was unanimously re- 
elected a member of the Royal Society of Painters 
in Water-Colours. As aresult of the Exhibition 
at Paris in 1889, he received a Knighthood of the 
Legion of Honour, and in 1890 his position among 
the foremost artists of the day was assured by 
the exhibition at Messrs. Agnew’s Galleries of the 
great ‘Briar. Rose’ series. That the final judg- 
ment of the critical was fully endorsed by the 
less learned, was shown by the crowds that 
thronged to see the pictures, as they did even 
more markedly to the New Gallery during the 
winter of 1893-4, when the display was. confined 
entirely to, his works, a distinction not often 
granted to a living artist. In 1897 a first-class 
medal was awarded to him. at the Antwerp 
Exhibition, and in the same year Her Majesty the 
Queen conferred upon him the honour of Baronetcy. 
His work had been more than once interrupted by 
illness during these later years, and in the early. 
months of 1898 he suffered severely from influenza, 
but there was no.suspicion of any imminent danger, 
and his sudden. death in the early morning of 
June 17 at his house in London came as a general 
shock. He was buried onJune 21 at Rottingdean 
near Brighton, where he had for some years resided 
for part of each year. Among his more important 
pictures are ‘Laus Veneris’ (1861-1878), ‘The 
Merciful Knight’ (1863), ‘The Wine of Circe’ 
(1863-1869), ‘St. George and the Dragon,’ a set. of 
seven pictures (1865-6, but largely repainted in 
1895), ‘ Le chant d’amour’ (1868-1877), ‘Spring ’ 
and ‘Autumn’ (1869), ‘Pygmalion and _ the 
Image,’ a series of four pictures (1869-1879) ; 
‘Night’ (1870), ‘Summer,’ ‘ Winter,’ and ‘Day’ 
(1871), ‘Temperantia’ (1872-3), ‘The Angels of 
Creation’ (1872-1876), “The Beguiling of Merlin’ 
(1872-1877), ‘The Feast of Peleus’. (1872-1881), 
‘The Mirror of Venus’ (1873-1877), ‘The Annun- 
ciation’ (1876-1879), ‘The Golden Stairs’ (1876- 
1880), ‘The Wheel of Fortune’ (1877-1883), ‘ Dies 
Domini’ (1880), ‘ King Cophetua and the Beggar 
Maid’ (1880-1884); ‘Perseus and the Graizx’ 
(1883-1893), ‘The Baleful Head’ (1884-1887), ‘The 
Rock of Doom’ and ‘The Doom’s Fulfilment’ (1884- 
1888), all four belonging to an uncompleted series 
illustrating the story of Perseus; ‘The Briar 
Wood’ (1884-1890), ‘The Rose Bower’ (1885- 
1890), ‘The Garden Court’ (1887-1890) and ‘The 
Council Room’ (1888-1890), forming ‘The Briar 
Rose’ series; ‘The Depths of the Sea’ (1886), 
the only picture the artist ever exhibited at 
Burlington House; ‘The Star of Bethlehem’ 
(1888-1891), ‘Sponsa di Libano’ (1891); ‘ Love 
among the Ruins’ (1893), a replica of an earlier 
work which was destroyed by accident; ‘ Aurora’ 
218 


finished work, and ‘Arthur in Avalon,’ left un- 
finished at his death. In addition to these, and 
many other purely pictorial works, he produced, © 
for.the most part in co-operation with the late — 
William Morris, a vast amount of decorative work, 
taking to a great extent the form of cartoons for 
stained glass.windows, of which examples may 
be found in .churches in Sloane Street, Vere 
Street and ,elsewhere in London, in the cathedrals 
of Oxford and Salisbury, in Peterhouse and other 
colleges at Cambridge, at Liverpool, Birmingham, 
Edinburgh, Dundee, Dublin, and many other 
cities both. in England and abroad. He also 
made numerous designs for tapestry, a specimen 
of which, ‘The Star of Bethlehem,’ forms part of 
the decoration of the chapel in Exeter College, 
Oxford. His most important decorative achieve- 
ment, however,.is in the American Protestant 
Church in the Via Nazionale at Rome, and con- 
sists of a series of mosaics, ‘The New Jerusalem’ 
adorning the apse, ‘ The Fall of the Rebel Angels,” 
‘The Tree of Life,’ etc., the walls. The most 
conspicuous characteristic of his work is its in- 
dividuality, for though in his earlier years he was 
undoubtedly influenced by Rossetti, and in his 
later found not.a few imitators, few artists have 
ever struck so strongly personal a note. The 
sources of his inspiration were sevenfold—medizeval 
ballads and legends, classical myths, ‘The Earthly 
Paradise’ by William Morris, the poems of Chaucer 
and Spenser, the Bible, allegory, and pure imagina- 
tion; but from whatever source his subject was 
derived it was invariably infused with and trans- 
figured by a powerful and somewhat melancholy 
poetical charm which was all his own, expressed — 
with a refined and delicate feeling for beauty of — 
form and colour, and illustrated with a prodigal 
wealth of charming and significant detail. His 
method of work was as original as were the results 
produced, He rarely completed a picture at one 
stretch. Rather he loved to linger over it, to 
work upon it when he was in a fitting mood, to 
put it away and turn to something else, returning 
to it again and yet again, until at last it reached 
completion. Thus, as may be seen by the dates 
given above in the list of his principal works, a 
picture might be for years upon the easel, as, for 
example, ‘The Prioress’ Tale, which though begun 
in 1869 was not completed until the end was near 
at hand, in 1898. He first, as a rule, carefully 
drew in chalk or pencil the design, altering it 


more or less from time to time and making, — 


simultaneously, whenever an interval between 
other labours allowed, most careful and elaborate 
studies of the various details he proposed to intro- 
duce into it Jater. ‘When at length the arrangement 
was to his liking he made a small colour-sketch 
in chalks or water-colours, from which, if the idea 
seemed of sufficient importance to be carried out 


on a large scale, he painted in water-colours a 


cartoon of the same size as the canvas he intended 
to use. Finally, when every incident was decided 
on and numberless studies had’ been made, he 
began upon the picture itself, and so thoroughly 
was he by then acquainted with every detail he 
proposed to embody in it, that although, as has — 
been said, months or even years might elapse 
between two periods of work upon it, he was 
enabled to resume it, when he wished to do so, 
as if he had laid it aside only the night before. 
When the finishing touches had been bestowed 


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- gtudies, 


__ There was never a more notable illustration of the 
disputed dictum that genius is, to some extent, 


a at any rate, the power of taking pains. Starting 
on his career comparatively late in life, with 


; 


varnished by his own hand with the utmost care. 


nothing but his vivid imagination as capital, 


__ hampered by his lack of directed education in the 
painters’ craft, by sheer patient and _unfaltering 


perseverance he developed from the helpless 


___ beginner of 1856, struggling to express ideas too 


great for his unpractised hand to grapple with, 
into the most poetical and imaginative painter 


_ that has, perhaps, ever lived, “To sum up briefly, 
_ £What is the secret of the charm that this artist’s 


works exercise upon an ever-increasing multitude 


of admirers?’ It lies firstly in the vividly poetical 


imaginativeness of his conceptions, and secondly 


- jn the wealth of beautiful accessories in which he 


embodied and enshrined them. He was not a 
great painter in the true sense of the word. He 
never attained to that absolute mastery of the 
materials of his craft, that positively riotous ease 


_of workmanship that belonged to such painters as 


Rembrandt and Velasquez, but among great artists 
he takes his place undisputed in the very front 
rank, His earlier work suffered technically from 


_ years, though he attained a marvellous accuracy 


and exquisiteness of touch in drawing, he never 


reached real breadth or strength of style; but 
- from the first he possessed an infallible sense of 


beauty of form and colour, a powerful and over- 
whelming originality, and an unequalled grace 
and delicacy of fancy.” | M: B. 

am ‘Sir Edward Burne-Jones,’ by Malcolm Bell. 


BURNET, James M., a younger brother of John 


Burnet, was born at Musselburg in 1788. At an 
_ early age he showed a predilection for painting, 


and frequented the evening academy of Graham 
to obtain a knowledge of the elements of art. 
He went to London in 1810, and renewed his 
He found in Cuyp and Paul Potter much 
after his own heart, but in nature more. ‘The 
fields were his study, nature was his book,” In 
his sketch-book he noted down beautiful bits of 
landscape, cattle, and rustic figures pursuing their 
ayocations. These he afterwards embodied in his 
works, and produced ‘Cattle going out in the 


_ Morning,’ ‘Cattle returning Home in a Shower,’ 


‘ Crossing the Brook,’ ‘ Breaking the Ice,’ ‘ Milking 
Time, ‘The Ploughman’s Return,’ and other pic- 
tures, full of high promise. Unfortunately for art, 
his life was but short; he died at Lee in 1816 in 
the twenty-eighth year of his age, to the regret of 
all who could appreciate his excellence. He was 
buried in the churchyard of Lewisham in Kent, a 
spot in which he delighted during his life. ‘Taking 
Cattle to Shelter during a Storm’ by him is in the 
Edinburgh Gallery. 

BURNET, Joan, was born near Edinburgh, in 
1784. His parents placed him with Robert Scott, 
the engraver, at Edinburgh, and from him he 
learned the practical part of etching and en- 
graving. Concurrently with this he attended 
daily at the Trustees’ Academy, where he was a 
fellow-pupil with William Allen and David Wilkie. 
Burnet himself says of this period of his career, 
“I have often thought that my following the 


PAINTERS AND ENGRAVERS. 


‘ “upon it the completed work was left for several 
_‘-years, that it might dry thoroughly before it was 


profession of an engraver and painter at the same 
time cramped the greater extension of either, as 
both are of sufficient difficulty to require the un- 
divided attention to arrive at a high degree of 
excellence.” In 1806 he paid his first visit to 
London. “ Wilkie having preceded me,” Burnet 
says, “by twelve months, the fame created by 
his picture of the ‘Village Politicians’ produced 
such a sensation in Scotland that I hastily finished 
my engraving, and set sail for London in a Leith 
smack. On my arrival on Miller’s Wharf, I seemed 
to feel what most Scotchmen feel, ‘ample room 
and verge enough,’ and though with only a few 
shillings in my pocket, and a single impression 
from one of my plates for Cooke’s ‘Novelists,’ I 
felt myself in the proper element, having all that 
proper confidence peculiar, I believe, to my country- 
men. I went instinctively toward Somers Town, 
where many of my brother artists resided, and 
next morning to No. 10, Sol’s Row, Hampstead 
Road, to call on Wilkie. He was delighted to see 
me, and exclaimed, ‘I am glad you are come, for 
London is the proper place for artists.’ On his 
easel was the picture of the ‘ Blind Fiddler,’ which 
struck me as a wonderful work for one who had 
seen so little of such paintings in his youth. My 
first engravings after settling in London were for 
Cooke’s ‘ Novelists,’ Britton and Bayley’s ‘ England 
and Wales,’ Mrs. Inchbald’s ‘ British Theatre,’ &c., 
but I longed for some larger work upon which to 
employ my graver, and bespoke the engraving of 
‘The Jew’s Harp,’ of the same size as the paint- 
ing.” This was the first picture by Wilkie that 
was engraved, and formed the commencement of 
the long series of prints after his admirable works 
now so well known to the public. The engraving 
of ‘ The Jew’s Harp’ brought Burnet into acquaint- 
ance with William Sharp, the celebrated historical 
engraver, and “the great founder of the English 
school in this department,” and its success led to 
the publication of others, and the picture of ‘The 
Blind Fiddler’ was fixed upon to be engraved, of 
a large size, more like ‘The Battle of La Hogue,’ 
by Woollett. As ‘The Jew’s Harp’ was executed 
more in the style of Le Bas, Burnet tells us he 
executed ‘The Blind Fiddler’ in the manner of 
Cornelis Vischer; it exhibits more graving than 
etching, and, as far as the approbation of the 
public went, was highly popular from the begin- 
ning. It also received the approbation of his 
brother engravers. Wilkie, on the other hand, did 
not greatly approve it; the consequence was that 
Burnet retouched the plate, and it was agreed that 
the whole of the original proofs were to be de- 
stroyed, and fresh ones with the alterations printed. 
This gave rise to two sets of proofs now being in 
existence. The first proofs have, amongst other 
peculiarities, the hat of the boy with the bellows 
in single line. The success which attended the 
production of ‘The Blind Fiddler’ led to the pro- 
duction of a companion print, and ‘The Village 
Politicians’ was the one fixed upon; but Burnet 
eventually threw up the engraving (which was 
undertaken by Raimbach), in consequence of dis- 
agreeing with the terms proposed, which were, 
that “the engraving was to be executed entirely at 
his (Burnet’s) own expenses, and the proceeds of 
the prints divided equally between the painter and 
engraver.” After the plate of ‘The Blind Fiddler 
other prints from Sir David Wilkie were ‘The 
Reading of the Will, ‘The Chelsea Pensioners 
reading the Gazette of the Battle of Waterloo, 
219 


‘The Rabbit on the Wall,’ ‘The Letter of Intro- 
duction,’ ‘ The Death of Tippoo Saib,’ ‘ The Village 


School.’ After the peace of 1813, Burnet took the | 


opportunity to visit Paris; and for five months 
was a constant visitor to the Louvre, copying and 
studying from the magnificent collection that had 
been brought from all parts of Europe to that 
gallery. Shortly afterwards he engraved several 
plates for Foster’s ‘ British Gallery ;’ of these ‘ The 
Letter Writer,’ after Metsu, and ‘The Salutation 
of the Virgin,’ after Rembrandt, are considered the 
best. He then joined the Associated Engravers, 
and produced the well-known plates of ‘ The Jew,’ 
‘The Nativity,’ and ‘The Crucifixion,’ after Rem- 
brandt, 

Burnet occasionally practised painting, and with 
a success which would have warranted him in 
devoting himself entirely to this branch of art, 
had his destiny not been already set in another 
path. His principal work was ‘Greenwich Hos- 
pital and Naval Heroes,’ painted for the Duke of 
Wellington, and intended as a companion picture 
to Wilkie’s ‘ Chelsea Pensioners’ and which he had 
engraved. The Sheepshanks Collection contains 
two of his works, ‘Cows Drinking,’ painted on 
panel in 1817, and the ‘ Fish Market in Hastings.’ 
His other best known paintings were ‘ The Draught 
Players’ in 1808, ‘The Humorous Ballad’ in 1818, 
‘The Valentine’ in 1820. Burnet will long be 
remembered as a writer on art. His first work, ‘A 
Practical Treatise on Painting,’ published in 1827, 
brought him much fame, and was followed by ‘An 
Essay on the Education of the Hye,’ 1837; ‘ Prac- 
tical Hints on Light and Shade,’ 1838; ‘On Colour 
in Painting’ in 1843; ‘ Rembrandt and his Works’ 
in 1849; ‘Turner and his Works’ in 1852; as well 
as other essays of minor importance. In 1860 he 
received a pension from the Civil List, and retired 
to Stoke Newington, where he passed in narrow 
means the few remaining years of his life. He 
died in April, 1868, aged 84. 

BURNEY, Epwarp Francis, a relation of the 
celebrated musician Dr. Burney, was born at Wor- 
cester in 1760. He entered the Academy school at 
an early age, and gained the friendship of Sir 
Joshua Reynolds. He exhibited in 1780 three 
drawings illustrating ‘Evelina, and afterwards a 
few portraits. He is best known by his book 
illustrations (of which an example is in the South 
Kensington Museum), and by a portrait of Fanny 
Burney (afterwards Madame d’Arblay), which was 
engraved as a frontispiece to her works. He died 
in London in 1848. 

BURNFORD, —, an obscure English engraver, 
was employed in engraving portraits, frontis- 
pieces, and other book plates for the publishers. 
Among his portraits is that of William Salmon, 
M.D., prefixed to his ‘Synopsis Medicine.’ 

BURNITZ, Cart Perer, landscape painter, was 
born at Frankfort-on-the-Main in 1824, He was 
brought up to the profession of an advocate, and in 

1847 took his doctor’s degree at Heidelberg, but 
he meantime diligently studied art without a 
teacher. After travels in Spain and Algiers, he 
lived for ten years in Paris, where he devoted him- 
self entirely to painting, and received valuable 
help from Dupré, Corot, and Theodore Rousseau. 
He first exhibited at the Salon in 1855, a landscape 
Ws was bought by the Emperor. He died in 
6. 

BURON, Vircizz, a French historical painter, 
worked at Fontainebleau under the direction of 

220 


A BIOGRAPHICAL DICTIONARY OF | 


Primaticcio and Maitre Roux in 1528, ‘He 1 
distinguished also as a painter of ornaments. 


BURTON, Sir Freperick WILLIAM, Knight, 
though well and favourably known as a painter, __ 
for the most part in water-colours, to connoisseurs —__ 
and critics of art, will be more widely and generally _ 
remembered for his services to the British nation 
in the post of Director of the National Gallery, a  __ 


position to which he was appointed in 1874, as 
successor to Mr. Boxall, R.A., and continued to 
occupy for twenty years, at the end of which he 
retired, having considerably exceeded the age limit 
prescribed by the Civil Service regulations. 
intimate knowledge of the works of the old masters" 
and his unerring judgment of their methods and 
manners were the outcome of long and careful 


study of their works in the various Galleries of — q 


Europe, a study begun in 1851, when he paid a first — 


visit to Germany and Bavaria, and carried onduring 


many later journeys in the following years. The 


third son of Samuel Burton, Esq., of Mungret inthe © 4 


County of Limerick, Ireland, he was borninthat 
country in 1816. He was sent to school in Dublin, — 

and there also, his artistic bent having revealed it- _ 
self at any early age, he was put under the tuition 
of Mr. Brocas, a capable and sympathetic teacher 
who prophesied a distinguished future for his pupil. © 
This was so far fulfilled that he was elected an 
Associate of the Royal Hibernian Academy when 


he was only twenty-one, and an Academician two 


years later. His first work was exhibited at the 
Royal Academy of London in 1842 ; in 1855 he was 
elected an Associate, and in 1856 a full member 
of the Royal Society of Painters in Water-Colours, 
but he resigned in 1870 in protest against the 
ill-treatment, as he considered, of his young fellow- 
painter Burne-Jones; in 1888, however, he was 
re-elected as an honorary member, together with 
the artist whose cause he had championed. He 
received the honour of knighthood in 1884, and 
the honorary degree of LL.D. from the University 
of Dublin in 1889, and died at Kensington on 
March 16, 1900. His paintings, though never 
attaining greatness, were always sincere in purpose 
and executed with a minute precision, due, to some 
extent, to the influence of the English Pre- 
Raphaelite school. . M.B. 

BURTON, W. P., son of Capt. Wm. Paton 
Burton, an officer in the Indian army, and nephew 
of Dr. John Hill Burton, was born at Madras in 
1828. He was educated in Edinburgh, and entered 
the office of David Bryce of that city, intending to 
become an architect, but eventually devoted him- 
self to landscape painting in water-colours. He 
travelled much on the Continent and in Egypt, 
and produced many drawings of French river 
scenery, and of old buildings in Holland and Egypt, 
besides numerous studies of Surrey and Sussex 
landscape. He died at Aberdeen on the 31st of 
December, 1883. 

BUS, CornELIs VAN. See Boson. 

BUSATI, AnprREA, an unimportant follower of 
the Bellini, is the author of a signed ‘St. Mark 
enthroned between SS. Francis and Andrew,’ 
painted about 1510, and now in the Venice 
Academy. A figure of a Saint in the Vicenza 
Gallery is also ascribed to him. 

BUSC, —, an amateur engraver, is reported 
by Basan to have etched several plates, among 
which were twenty-eight after Rembrandt, and 
twenty of heads, &c. ; 
~ BUSCA, Antonio, was born at Milan in 1625, 


‘His > a 


Chie 


a, 


4 See ON ean 


/ . 


and was a scholar of Ercole Procaccini, In the 
_ church of San Marco he painted, in competition 


with his master, a picture of ‘The Crucifixion, 


_ with the Virgin, Mary Magdalen, and St. John,’ 


which picture is quite worthy of comparison with 
the works of Procaccini. This performance, how- 


- ever, he never afterwards equalled. Being much 


afflicted with the gout, he appears to have been 
unable to undertake anything with vigour; he 
sank into a mannerist, and contented himself with 
frequently repeating the same subjects. He died 
in 1686. 

BUSCATI, Luca Anronio, (or Busscat,) was a 
Bolognese painter of the 15th century. A ‘ Descent 
from the Cross’ by him is in the Ercolani Gallery 
at Bologna, an outline of which is given by Rosini. 


_Zani considers him among the eminent artists of 


the period, and the print justifies the opinion. 
BUSCH, FriepricH, a genre painter in Dissel- 
dorf, was born in 1808. He died in 1875. He 
painted many charming pieces, amongst them, 
‘The Spinner,’ ‘The Huntsman and his Sweet- 


heart,’ and ‘The Weeping Girl at the Well.’ 


_by Busi Cariani. 
_ to him the two well-known Heads in the Louvre, 


of which fragments only now remain. 


BUSI CARIANI, Giovannl, was born at Fuipiano 
on the Brembo in the latter part of the 15th 
century. His first recorded painting with the 


date of 1514, and his last with the date of 1541, 


are both now lost. He must have possessed 
considerable skill in imitating the styles of the 
great Venetian masters, for many galleries pos- 
sess paintings attributed to Bellini, Giorgione, 
Palma Vecchio, and Pordenone which are really 
Crowe and Cavalcaselle ascribe 


formerly thought to be portraits of the Bellini, 
and still assigned to the hand of Gentile Bellini, 
He painted at both Venice and Bergamo, and in 
the latter city executed frescoes on the front of 
the Palace of the Podesta, a Madonna with Saints 
above the side portal of the church of Santa Maria 
Maggiore, and some subjects in the Piazza Nuova, 
Only two 
paintings by him with dates affixed are known to 
exist: Seven Portraits in a landscape, dated 1519, 


‘in the Roncalli collection, and a Madonna and Child 


with patron, dated 1520, in the Casa Baglioni, 
both at Bergamo. The Lochis-Carrara gallery at 
Bergamo contains seven fine paintings by Busi 
Cariani; besides which there are examples at 
Brescia and Berlin, and the following: 
Dresden. Gallery. | Rachel and Jacob. 
Milan, Brera. Virgin and Child, with Angels 
and seven Saints. 

BUSINCK, Lupwie, a German wood-engraver, 
was born at Minden about the year 1590, and was 
working in Paris in 1640. He was the first artist 
in France who executed woodcuts in chiaroscuro, 
and his productions were distinguished by a 
spirited and masterly style. Many of his plates 
are after L’Allemand, others from his own designs, 
as under: 

FROM HIS OWN DESIGNS. 

Fidelity, an allegorical piece. 1630. 

A half-length figure playing on the Flute. 

A Cavalier; full-length. 1630. 

Two of Peasants. 

IN CHIAROSCURO; AFTER G. L’ ALLEMAND. 


St. Peter holding the Keys; half-length. 
St. John and St. Matthew. 

Judith, with the Head of Holofernes. 
Moses, with the Tables of the Law. 

A Family of Beggars. 

A young Man playing on the Flute. 


1630. 


PAINTERS AND ENGRAVERS. 


Aineas saving Anchises from the Burning of Troy. 

_ A Holy Family, on three blocks of wood; one for the 
outline, the other for the deep shadows, and another 
for the demi-tints. 

BUSO, AvURELIO, was a native of Crema, and 
flourished about the year 1520. He studied under 
Polidoro da Caravaggio and I] Maturino, and 
assisted them in several of their works at. Rome. 
He ornamented the palace of the noble family of 
Benzoni, at Venice, with some friezes and other 
works in the style of Polidoro, and also produced 
many historic pictures in his native city, in the 
manner of his master. 

BUSS, Roperr WILLIAM, was born in the parish 
of St. Luke, London, in 1804. His father, who 
was an engraver and enameller, took him as an 
apprentice, and he remained in the business six 
years. From the strong love which he evinced for 
drawing, he was next placed in the studio of 
George Clint, A.R.A., who taught him portrait 
and subject painting, especially for the production 
of theatrical scenes, <A large collection of works 
of this class which he executed for Cumberland, 
mostly as illustrations for his ‘ British Drama,’ 
were in after years exhibited at the Coliseum in 
Regent’s Park. Buss also painted a great number 
of pictures of a more original character, which 
met with much success. Amongst these were 
many humorous subjects, but he also produced 
several that evinced a study of antiquities and old 
customs, especially a large painting of ‘ Christmas 
in the time of Queen Elizabeth,’ which was ex- 
hibited at the Society of British Artists, and the 
merit of which procured for the artist his engage- 
ment with Charles Knight for the illustration of 
his ‘§ Shakespeare,’ ‘ London,’ ‘Old England,’ 
‘Chaucer,’ and ‘The Penny Magazine,’ for all 
of which he prepared numerous original designs 
on wood. These were followed by a number of 
etchings upon steel, also original, in illustration of 
the works of Marryat, Mrs. Trollope, Harrison 
Ainsworth, and others. His largest works, painted 
for the Earl of Hardwicke, are now in the Music 
Saloon at Wimpole, in Cambridgeshire. They are 
twenty feet wide by nine high, and are entitled 
respectively ‘The Origin of Music’ and ‘The 
Triumph of Music.’ For Mr. James Haywood, 
M.P., he executed an interesting series of draw- 
ings, illustrative of ‘College Life at the Universi- 
ties.’ Buss also prepared a series of four lectures 
on ‘Satire, Art, and Caricature,’ illustrated by 300 
examples, and these lectures he delivered with 
success at most of the literary institutions of the 
kingdom. He died in London in 1875. A com- 
plete list of his works was published in ‘ Notes and 
Queries’ for 1875, Series V., vol. iii, Among his 
pictures the following may be mentioned, which 
have been engraved, and several of which have 
achieved considerable popularity : 


The Bitter Morning. The Old Commodore. 
The Stingy Traveller. Watt's first experiment with 
The Wooden Walls of Old Steam. 

England. The First of September. 


The Introduction of To- 
bacco. 

The Biter Bit. 

The Romance. 

Satisfaction ! 


Soliciting a Vote. 

The Musical Bore. 

The Frosty Reception. 

Master’s Out. 

Time and Tide wait for 

no Man. 

BUSSCAT. See Buscatt. 

BUSSE, Grora, a landscape painter and en- 
graver, was born in 1810 at Bennenmiihlen, near 
Hanover. He studied drawing under Giesewell, 

221 


| a eg 2) xt nb ote a 
a ls Ta, oe 


ot che, SRN ay Pe 
Fre a . P 
. Ty 


and then proceeded, with royal assistance, to Dres- 
den, where he learnt engraving under Stélzel, and 
obtained the first prize for that art in 1834. For 
the next ten years he was studying from nature in 
Italy under Poussin, Claude, and Koch, visiting 
Greece, however, in 1843. On his return he was 
appointed engraver to the Hanoverian court and 
library, but pursued painting also from 1847. In 
1858 he went on a tour of study through Paris to 
Algiers and Tunis, in the course of which he 
painted a large number of flowers. He died in 
Hanover in 1868. In addition to sixty plates of 
etchings, the following views are by him: 

Ruins of the Imperial Palace. 1850. 

Monte Aventino. 1852. 

Lago d@’Agnano. 1857. 

The Ear of Dionysius. 

Lake Trasimene. 1863. 

BUSSE, JoHANN, a German engraver, flourished 
about the year 1528. He may be ranked in the 
class of the Little Masters, and was probably a 
disciple of Heinrich Aldegrever, as he copied some 
of the prints of that master. He engraved a set 
of small plates of ‘The Seven Planets,’ which are 
marked with the initials of his name, J. B., with 
the date 1528. Strutt also attributed to him a 
small plate, lengthways, representing a man and a 
woman dancing, with two men playing on musical 
instruments, on which the name is signed at length, 
Johann Busse 

BUSSEMACHER, JoHANN, was an engraver at 
Cologne, as well as a printer and a dealer in works 
of art, from about 1580 to 1613. Besides several 
pictures of saints and numerous other copper-plate 
works, he produced the striking plate of ‘ Frau 
Richmuth rising up from a Trance,’ taken from a 
wall painting in the Church of the Apostles, pulled 
down in 1785. His plates are signed, Jams. 
Busse, J. Bussm., Jo Buss, Johan Bussemec., J. 
Busem., &c. 

BUSSLER, Ernst FRIEDRICH, was born at 
Berlin in 1773. He studied several years at the 
Academy, and at length painted some miniatures 
and worked with the etching needle and the burin. 
Later on he published a work ‘On the Ornaments 
of Antiquity,’ comprising 126 engravings. Another 
work on ‘ The Costumes of the Middle Ages’ was 
interrupted by the events of 1806; most of his 
paintings are historical. 

BUSTAMANTE, Francisco, who was born at 
Oviedo about 1680, studied painting with Miguel 
Jacinto Menendez at Madrid. On the ceiling of 
the sacristy of Oviedo Cathedral he painted a 
fresco representing ‘The Asumption of the Blessed 
Virgin,’ from a sketch sent from Rome; also a 
series for the cloister of the Franciscans. He 
excelled in portraiture; his likenesses, executed 
with fidelity and skill, are to be met with in the 
best houses of the Asturias. He died in Oviedo 
in 1737. 

BUSTINO. See Crespi. 

BUTAVAND, Luctsn, a French engraver, was 
born at Vienne in 1808. He studied under Orsel, 
Richomme, and Ingres, and died in Paris in 1853. 
His best works are: 

La Vierge au coussin vert ; after A. Solario. 

The Dismissal of Hagar; after Dumas. 

Jesus Christ before Caiaphas ; after Overbeck. 

The Ascension ; after the same. 


The two last form part of a set of twelve plates 
after Overbeck, engraved by Butavand, Keller, and 
Steifensand, 

222 


1862. 


where he died in 1606. 


di Titi, under whom he showed early marks of — 
ability. On leaving that master, he applied him- 
self to imitate works of Andrea del Sarto, whose 
manner he adopted with success. Baldinucci men- — 
tions several of the productions of this master in — 
the churches and palaces at Florence; and particu- 
larly commends his picture of ‘The Ascension’ in — 
the Ognissanti. But perhaps his most creditable — 
performance is his picture of ‘The Miracle of the — 
Loaves,’ in the Gallery at Florence. a ch 
BUTIN, UtyssE, painter, was born at Saint — 
Quentin in 1838. He early showed a talent for 
art, but his parents were poor, and could not 
afford to educate him fully. Heaccordingly began 
his career as a designer of patterns for muslinsin 
a factory of his native town. While thus en- 
gaged he won a prize of three hundred francs,and _ 
with the money travelled to Paris, where he com- 
bined work at his trade with study under Picot at 
the Ecole des Beaux Arts. In 1871 he made his 
début at the Salon with a picture called ‘Le 
Bouffon.’ He subsequently exhibited many pic- — 
tures, chiefly scenes of fisher life. Among the best 
of these were ‘ Waiting for the Boats, Villerville’ _ 
(1875), and ‘A Sailor’s Funeral, Villerville ’ (1878). 
The latter is in the Luxembourg. For twelve 
years he held ih: post of professor of drawing to 
the Ecoles de la Ville de Paris. He died in Paris, 
December 9, 1883. Se 
BUTTER], Giovanni MariA, was, according to 
Baldinucci, a native of Florence, and a scholar of 
Agnolo Bronzino. Although he painted history 
with some success, his drawing is much less — 
correct than that of his master, and his colouring 
rather harsh and crude. There are several of his 
works in the churches and convents at Florence, _ 


BUTTINONE (or BUTINONE). 
RNARDINO. 
BUTTS, JoHN, who was born.and educated at 
Cork, spent most of his life at Dublin. He painted 
landscapes somewhat in the style of Claude Lor- 
rain: he also practised as a scene-painter. He 
died in 1764. 4 
BUTTURA, Evang FERDINAND, a French his- 
torical landscape painter, son of the poet, was — 
born in Paris in 1812. He commenced his studies 
in the atelier of Bertin, from which he went to 
that of Delaroche. He carried off the great prize 
of Rome for landscape, in 1837, with his picture 
of ‘ Apollo inventing the seven-stringed Lyre.’ On 
his return from Rome in 1842, he exhibited ‘The 
Ravine,’ and in 1848, ‘Daphne and Chloe at the 
Fountain of the Nymphs,’ for each of which he 
was rewarded with a gold medal. Amongst his 
other more important works are ‘Nausicaa and 
Ulysses,’ ‘Saint Jerome in the Desert,’ and ‘A — 
View of Tivoli.’ He also produced some small 
pictures, in the style of the realistic school, such = 
as ‘Campo Vicino’ (1845), which was lithographed 
by Anastasi; ‘The Temple of Antoninus and 
Faustina’ (1846), a ‘View of the Cascades of 
Tivoli,’ and a ‘Park Interior,’ which by their 
neatness and sharpness of effect and minuteness ~ 
of detail rival the productions of photography. 
He died in Paris in 1852. : 
BUYS, Jacosus, a Dutch painter and engraver, 
was born at Amsterdam in 1724. He studied un- 
der C. Pronk, Jacob de Wit, and C. Troost, and 


: 


See JACOBI, 


PAINTERS AND ENGRAVERS. 


ultimately became director of the Drawing Acad- 
_emy of his native city, where he died in 1801. He 

ainted portraits, bas-reliefs, and tapestry, designed 
book-illustrations, and made copies of the works 
of the best masters of the seventeenth century. 

BUYSEN. See BulsEn, 

BUYTENWEG. See Dre BuyTEenwea. 

BYE. See Dr Bye. 

BYER, Nicuo tas, born at Drontheim in Norway, 
painted historical subjects and portraits. He was 
employed by Sir William Temple for three or four 
years, at his house at Sheen, near Richmond. He 
died at Sheen in 1681. 

BYFIELD, JoHN, a wood engraver of repute, 
obtained much credit for his copies of Holbein’s 
‘Icones Veteris Testamenti,’ published by Picker- 
ing in 1830, and the ‘Dance of Death,’ published 
in 1833. His sister Mary, who survived him, 
was likewise an excellent engraver, and executed 
most of the book ornaments designed by Charlotte 
Whittingham for the Chiswick press. 

BYLAERT. See BIsLarrr. 

BYNG, Epwarp. See Binge. 

_ BYRNE, Anne Frances, who was born in 1775, 

was a daughter of William Byrne, and was elected 
in 1806 a member of the Water-Colour Society: she 
became celebrated as a painter of flowers and fruit. 
She died in 1837. Her sister LetiT1IA Byrne like- 
wise turned her attention to art, and practised 
etching and engraving for book illustrations with 
much success. She died in 1849. 

BYRNE, Joun, the only son of William Byrne, 
was born in 1786, and for some time followed his 
father’s profession ; but subsequently directed his 
attention toward landscape painting in water- 
colours. He sent pictures to the exhibitions of 

the Water-Colour Society and the Royal Academy ; 
and spent some years (about 1832-37) in Italy. He 
died in 1847. In the South Kensington Museum 
are: 

The Ferry at Twickenham (exhibited in 1830). 

Italian Landscape, with Monastery. 

BYRNE, WItiiAM, an engraver, was born in 
London in 1743. After studying some time under 
his uncle, an artist little known, he went to Paris, 
where he became a pupil of Aliamet, and after- 
wards of Wille. He died in London in 1805, and 
was buried in Old St. Pancras churchyard. Byrne 
may be justly ranked among our eminent en- 
gravers of landscape. His works are considerable ; 
the following are the most deserving of notice: 

So 5 cy imel after R. Wilson (Society of Arts medal, 

Antiquities of Britain ; from drawings by Thos. Hearne. 

Views of the Lakes of Cumberland and Westmoreland ; 

after Farrington. 

eres of Italy; after the fine designs of Francis 

th. 
‘Apollo watching the Flocks of King Admetus; after 

_ Filippo Lauri ; the companion to Woollett’s print of 

Diana and Actzon. 

The Flight into Egypt ; a landscape; after Domenichino. 

Evening ; a landscape; after Claude Lorrain. 

Abraham and Lot quitting Egypt; after Zuccarellt ; the 

figures by Bartolozzt. 

A Sea-piece ; after Vernet. 

Evening; after Both; the landscape by Byrne, the 

figures by Bartolozzt. 

Two Views of Leuben, in Saxony ; after Dietrich. 

The Death of Captain Cook ; the figures by Bartolozzt. 

The Falls of Niagara; after R. Wilson. 


BYSS, Jonann Ropotrn, a Swiss painter, was 
born at Soleure in 1660. He painted easel pic- 
tures of historical subjects in landscapes, and was 


especially successful in representing animals and 
birds. He is also stated by his countryman and 
biograpner Fiissli to have painted flower pieces, in 
which he equalled Jan van Huysum. In the castle 
at Pommersfelden are several frescoes by him, 
and in the Picture Gallery of that town an alle- 
gorical ‘ Panegyric upon the Erection of the Castle,’ 
and two pictures of ‘Paradise,’ with many beasts 
and birds. Other frescoes and paintings by him 
are in the castle at Wirzburg, where he died, 
while holding the post of court painter, in 1738. 
An ‘Interior of a Dining Room’ by him is in the 
Pinakothek at Munich, 


C 


CABANEL, ALEXANDRE, painter, was born at 
Montpellier in 1823. He came to Paris at an early 
age, entered Picot’s atelier, and crowned a successful 
course at the Ecole des Beaux Arts by gaining the 
prix de Rome in 1845. While in Rome he painted 
a ‘Death of Moses,’ which attracted considerable 
attention at the Salon of 1852, and for which he 
was awarded a medal of the second class. Another 
meritorious early work was his ‘Glorification of 
Saint Louis,’ exhibited at the Salon of 1855, and 
now in the Luxembourg. But the picture by 
which he is best known is his ‘ Birth of Venus’ of 
1863, also in the Luxembourg, which was engraved 
by Jules Francois, and in which the painter may 
be said to have reached the highest expression of 
his graceful, delicate, and insipid art. Under the 
Second Empire, Cabanel became the fashionable 
portraitist of his day, and painted most of the 
élégantes of the third Napoleon’s Court. ‘ His 
satiny complexions and mincing hands,” says a 
French critic, “were a continual source of delight 
to ladies and irritation to artists.” His portrait of 
the Emperor, painted for the Empress, gained the 
médaille dhonneur of 1865. Under the Republic 
Cabanel was no less popular, and up to the very 
time of his death was overwhelmed with com- 
missions. As a teacher he was very successful. 
His studio at the Hcole des Beaux Arts was one of 
the most frequented, and he turned out artists of 
such widely diverse gifts as Benjamin Constant, 
Bastien-Lepage, Albert Besnard, Aimé Morot, 
Fernand Cormon, and Henri Gervex, besides many 
others, Though himself faithful to the traditions of 
Cogniet, Ingres, and Abel de Pujol, Cabanel showed 
great liberality in his relations with his pupils, 
never seeking to impose his own style upon them, 
but endeavouring to develop the individual bent 
ofeach. In 1863 Cabanel succeeded Horace Vernet 
as a member of the Institute. He was alsoa member 
of a long list of foreign academies, and won a large 
share of official honours. He died in Paris, January 
22, 1889, and was buried at his native Montpellier. 

CABAT, NicHotas Louis, French landscape 
artist and member of the Institute. He was born 
in Paris on the 24th of December in the year 1812, 
and studied painting under Camille Flers. In early 
life he went through some of the most picturesque 
parts of France, exploring, by preference, the banks 
of the Indre, those of the Meurthe and Calvados. 
He first exhibited in the Salon of 1833, landscapes 
which were accused of realism, but persevered until 
1837 in the style he had adopted, and formed a 
school. Until 1848 he only figured twice in the 
yearly exhibitions (those of 1840 and 1841), and 
made two trips to Italy, but since that date he 
exhibited almost without a break. ‘Souvenirs du 

223 


; ® : ; 1g » os e 


A BIOGRAPHICAL DICTIONARY OF ss 


Lac de Nemi.’ exhibited with ‘Une Source dans 


les Bois’ in 1864, was acquired by the Emperor 
Napoleon III., and re-exhibited at the Universal 
Exhibition of 1867, where it was awarded a third- 
class medal. He had gained a_ second-class 
medal at the Salon of 1834. He also etched a few 
plates from which a limited number of proofs were 
struck off. Elected a member of the Academy of 
Beaux Arts, he replaced M. Brascassat in November 
1867. Exactly eleven years later he was named 
Director of the French School of Rome, which post 
he occupied until 1884, Chevalier of the Legion of 
Honour since 1843, he was promoted officer on the 
14th of November, 1855. His pictures of ‘ Le Jeune 
Tobie présenté par l’Ange & Raguel,’ ‘Le Lac de 
Nemi,’ and ‘Genzano, prés de Rome,’ were acquired 
by the Duc d’Orleans. Most of his best-known 
pictures have been reproduced in ‘ L’Artiste’ and 
oe periodicals. He died on the 13th of March, 
1893. 

CABEL, ADRIAEN VAN DER. See VAN DER CABEL. 

CABEZA pvr VACA, Francisco VERA, was born 
about 1637 of a distinguished family at Calatayud, 
and began life as page to Don Juan of Austria at 
Saragossa. With the example of this master, and 
some instruction from Josef Martinez, he became 
a skilful amateur painter, especially of portraits. 
Cabeza de Vaca did not accompany his master, 
Don Juan, to the seat of government, but settled 
at his native Calatayud, where he spent a life of 
piety and almsgiving, preparing himself for work 
by confession and the Eucharist, and thus gaining 
high repute for holiness. He is the last Spanish 
painter of whom it is said that the Blessed Virgin 
herself stood by his easel and unveiled her celes- 
tial charms, that he might portray them in the 
picture of ‘The Holy Family,’ which was jealously 
preserved and fervently adored in the convent of 
the Holy Sepulchre. The favoured artist died at 
Calatayud in 1700. 

CABEZAIERO, Juan Martin, a Spanish painter, 
was born at Almaden, near Cordova, in 1633. He 
was a disciple of Juan Carrefio de Miranda, and 
gained considerable reputation by his historical 
paintings. His principal works are at Madrid, two 
of the most esteemed, representing ‘ The Assump- 
tion of the Virgin’ and ‘St. Ildefonso,’ being in 
the church of San Nicolas. He also painted for the 
church of the Franciscans an ‘Ecce Homo’ and ‘The 
Crucifixion.’ His ‘Judgment of a Soul’ is in the 
Museo Nacional at Madrid. He died at Madrid in 
1673. 

CABRERA, Grronimo, a Spanish painter of con- 
siderable merit, was a pupil of Gasparo Becerra. 
He painted a large number of religious subjects 
for churches and convents, but excelled especially 
in fresco, in which he executed some decorations 
for the royal! snooting-box of El Pardo, near Madrid, 
about 1570, but these perished by fire in 1604. His 
name is now almost unknown, doubtless by reason 
of his works passing as those of his master. There 
is no record of his birth or death. | 

CACAULT, Pierre Rens, a French historical 
painter, was born at Nantes in 1744. He was a 
pupil of Vien, but he never rose above mediocrity, 
He died at Clisson in 1810. The Museum of Nantes 
has by him ‘A Man seated on a Tiger’s Skin.’ 
He was the brother of Francois Cacault, ambas- 
sador of France at Rome, whose fine collection of 
aoe of art was acquired by the city of Nantes in 

810. — 
CACCIA, GuGLIELMO, called MoncaLvo, was a 
224 


5a 
= Se. 
be ct if on ey 


Piedmontese, born at Montabone, in Monferrato, — 
in 1568. He was named Moncalvo from his long — 
residence at that place, Although he is believed 
to have been a ‘pupil of Soleri, it has not been — 
definitely ascertained under whom he studied, — 
He first settled at Milan, where he painted some 
pictures for the churches, but afterwards resided 
for some time at Pavia, where he was made aig 
citizen. He also visited Novara, Vercelli, Alessan- 
dria, and Turin, and Genoa is not without some of 
his paintings. His style has something of the 
energy of the Carracci; but it has been observed — 
by Lanzi, that if he had been educated in the 
school of the Carracci, it is probable that he 
would have left some of his works at Bologna, _ 
and that in his landscapes he would have shown 
more of the taste of Annibale than of Paulus 
Bril. His manner partakes altogether more of 
the Roman than of the Bolognese school. There: 
is a ‘Madonna’ by him in the Gallery at Turin,' 
which, were the colour a trifle brighter, might well _ 
pass for a work of Andrea del Sarto. As afresco — 
painter his ability was considerable. Inthe church 
of Sant’ Antonio Abbate, at Milan, he painted in — 
fresco the titular Saint, with St. Paul, the first 
hermit, a work which is able to sustain its posi- 
tion in proximity to some of the best productions 
of the Carloni. Another distinguished perform- 
ance in fresco by Caccia is the cupola of San 
Paolo at Novara. Of his oil paintings, the most 
effective are ‘St. Peter,’ in the Chiesa della Croce, 
‘St. Theresa,’ in the church of the Trinity, both 
in Turin, and the ‘Taking down from the Cross,’ — 
in the church of San Gaudenzio at Novara, which 

is considered by many to be his chef-d’ceuvre. At 
Moncalvo, the church of the Conventuali may be 
considered as a gallery of his works. At Chieri 
also are two fine pictures by this master, the 
‘Raising of Lazarus’ and the ‘Miracle of the 
Loaves,’ admirably composed, and of the finest 
expression. He died about 1625. 

CACCIA, OrsoLA MAaDDALENA, was a daughter 
of Guglielmo Caccia, who, in common with her 
sister FRANCESCA, assisted in producing the paint- 
ings in the monastery at Moncalvo. Other paint- 
ings by the sisters are to be found in the vicinity. 
They partake of the character of the works of their 
father, but lack their animation. Orsola died in 
1678, and Francesca at the age of 57. 

CACCIANEMICI, Franczsco, was a Bolognese 
painter, educated in the school of Primaticcio, who 
was considered by that master so promising a 
scholar that he made choice of him as one of 
the young artists who should accompany him to 
France, when he was invited to the Court of 
Francis I. He assisted Primaticcio in his great 
work at Fontainebleau, and was employed, in con- 
junction witn I] Rosso, in several other important 
works. He died in 1542. For another FRANCESCO 
CACCIANEMICI see CAPELLI, FRANCESCO, 

CACCIANEMICI, Vincenzo, was a Bolognese 
gentleman, who was instructed in the art of paint- 
ing by Parmigiano. Vasari mentions a picture by 
this amateur artist in the chapel of the family of 
Elefantuzzi, in San Petronio at Bologna, represent- 
ing ‘The Decollation of St. John;’ and another 
picture of the same subject, differently treated, in 
the Cappella Macchiavelli in San Stefano. He 
flourished about the year 1530. There are a few 
etchings, marked V. C’. #. (and in one case with 
V. C. reversed), which are attributed to this painter, 
and which are executed with much spirit in a style 


> 
“— 
ae 


~ rh te 


pone 


argh 


scapes, and scenes from Tasso. 


PAINTERS AND ENGRAVERS. 


by Parmigiano. 
The Death of Abel. 


g _ St. Jerome in a Grotto. 


- CACCIANIGA, Francesco, was a painter and 


_ engraver, born at Milan in 1700, who studied at 
Bologna in the school of Mare Antonio Frances- 
_chini. He afterwards visited Rome, where he 
_ established himself, under the patronage of Prince 


Borghese, for whom he executed some consider- 


able works in the Palazzo and the Villa Bor- 


ghese. His principal works are at Ancona, where 


_ he painted several altar-pieces and pictures for its 
_ churches and public buildings, of which the most 
esteemed are ‘The Marriage of the Virgin’ and 


*The Last Supper.’ Some few engravings by him 


_ are known, one being ‘The Death of Lucretia,’ 
_ from a painting by himself. His death occurred 
in 1781, 

-  CACCIOLI, Giovanni BatrisTa, was born in 
the castle of Budrio, near Bologna, in 1636. 
_ He was the pupil of Domenico Maria Canuti, and 


became a good imitator of Cignani. He painted 
several pictures for the churches of Bologna, and 
was greatly patronized by the Dukes of Parma and 


a Modena, According to Padre Orlandi he died in 
1675 


CACCIOLI, GIUSEPPE ANTONIO, a painter and 


_ engraver, was the son of Giovanni Battista Caccioli, 
_He was born at Bologna in 1672, and was a pupil 


of the brothers Rolli. His works, which are 


mainly architectural and painted in fresco and in 


oil, are to be found chiefly in Florence and Bologna, 


_ and are superior to what might have been expected 
_ from the character of his instruction. 
_to have visited Baden during his career. 
_ etchings by him are known, remarkable for a light 
and easy touch. He died in 1740. 


He appears 
Three 


CADEAU, REn#, a French portrait painter, was 
born at Angers in 1782. He studied under Baron 


- Guérin, and died in Paris in 1858. 


_CADES, Giuseppe, a sculptor as well as painter 


and engraver, was born at Rome in 1750. He 


studied under Mancini and Corvi, gaining a prize 
in 1765 with his picture of ‘Tobias recovering his 


Sight.’ He visited Florence in 1766, where he occu- 


pied himself in copying; and two years later exe- 


_ cuted an altar-piece for San Benedetto in Turin, 


and in 1771 another for the Santi Apostoli. He also 
decorated the Palazzo Chigi with frescoes, land- 
He possessed a 
wonderful facility in counterfeiting the works of 
Raphael, Michelangelo, Domenichino, and Leonardo 
da Vinci. He has left two etchings, viz., ‘ Christ 
blessing Little Children,’ and ‘The Death of 
Leonardo da Vinci.’ He died at Rome in 1799. 
CADORE, Tiziano pA. See VECELLI. 
CADORIN, Mattia, otherwise known as Bot- 
ZETTA, was an engraver and publisher who flourished 
at Padua about 1648. He engraved after Titian 


and others. His plates are generally marked merely 


a 2 ele Se 
E a SE I ee ee 


with the name Cadorin. 
CADORINO, who was a painter of the 17th cen- 


_ tury, was a friend of Nicolas Poussin. The paint- 


ings of amoretti, executed in so life-like a style, 
and characterised by so much grace, that are now 
in the Fol Collection at Geneva are probably his 
work. 

Q 


oot , ~ o . ° 
| resembling that of Aineas Vico. Amongst them CAFFI, Cavaliere IppoLiro, was a painter of 
| are: 
Diana returning from the Chase. 
_ A Landscape, with a Nymph and Dogs. 
__ The Adoration of the Shepherds ; probably after a design 


architectural subjects and sea-pieces, born at Bel- 
luno in 1814. His first work was produced at the 
Venice Academy. He subsequently removed to 
Rome, where he worked laboriously as a teacher of 
drawing, and made some little reputation by his 
treatise on Perspective, as well as by his investiga- 
tions on the subject of Roman Monuments. In 
1843 he visited Greece and the East. The first 
work of his that created a sensation was ‘ The Car- 
nival at Venice.’ This was exhibited at Paris in 
1846, and in consequence of its brilliant effects of 
light created such a furore that he had to repro- 
duce it some forty times. Other works deserving 
of notice are his ‘Panorama of Rome from Monte 
Mario,’ ‘Isthmus of Suez,’ and ‘Close of the 
Carnival at Rome.’ Taking part in the revo- 
lutionary movement at Venice in 1848, he had to 
retire into Piedmont. His intention of producing 
a painting commemorative of the first Italian naval 
engagement was frustrated by the destruction of 
the ‘ Re d'Italia,’ the vessel on board of which he 
was, when he perished at Lissa along with his 
comrades in 1866. 

CAFFI, Marcuerira, an Italian painter of 
flowers and fruit, flourished during the 18th cen- 
tury. She is said to have been a native of Florence, 
Cremona, or Vicenza, but no details of her life are 
known. 

CAGLIARI. See Carian. 

CAGNACCI, In. See Canuasst. 

CAGNONI, D., was an Italian engraver of little 
celebrity, who appears to have been principally 
employed by booksellers. His name is affixed to a 
portrait of Victor Amadeus, third King of Sardinia. 

CAHISSA, NiccoLd, was a painter born in 1730, 
who produced some excellent specimens of flower 
subjects, vegetable pieces, birds, &c. He worked 
both at Rome and at Naples. . 

CAILLEAU, Hupert, a French historical and 
miniature painter, who flourished at Valenciennes 
in 1530. There are in the National Library at Paris 
some clever designs made by him for a mystery of 
the Passion which was acted at Valenciennes in 
1547. 

CAILLOUX, ALEXANDRE ACHILLE ALPHONSE 
(called Dz CaILLEvx), a French artist, was born at 
Rouen in 1788. After having exhibited some pic- 
tures at the Salon of 1822, he undertook, in con- 
junction with Baron Taylor and Charles Nodier, the 
production of the ‘ Voyages pittoresques et roman- 
tiques de l’ancienne France,’ and to him are due 
both the text and the drawings of the section of 
‘Haute Normandie.’ He held successively the 
offices of secretary-general of Museums, assistant 
director, and, from 1841 to 1845, director-general of 
fine arts. He died in 1876. 

CAIMI, AnrTonio, was born at Sondrio in 1814, 
and was chiefly engaged as a portrait painter, but 
also executed pictures of ‘The Beheading of St. 
Jobn the Baptist,’ ‘The Return from Babylon,’ &c. 
He wrote a work on ‘The Arts of Design, and the 
Lombardian Artists from 1777 to 1862’ (Milan, 
1862). He was secretary of the Academy at Milan 
from 1860 until his death in 1878. 

CAIRO, Frrpinanpo, was born at Casalmon- 
ferrato in 1666, and learned the first rudiments of 
design from his father, an unknown artist. He 
was afterwards placed under the tuition of Marc 
Antonio Franceschini at Bologna. He painted 
history, and, in conjunction with Giacinto Garofa- 
lino, was employed to paint the ceiling of the ea 


>t 


A BIOG. 
of Sant’ Antonio at Brescia, which is favourably 
spoken of by Averoldi. 
ing to Zani, in 1748. He had an elder brother, 
GIUSEPPE, or GUGLIELMO, who was born in 1656, and 
died in 1682. 

CAIRO, Cavaliere Francesco, (called ‘Il Cava- 
liere del Cairo,’) was born in the territory of Varese, 
in the Milanese, in 1598. He was a disciple of Pier 
Francesco Mazzuchelli, and if he did not equal his 
instructor in force and vigour, he surpassed him in 
the elegance of his design and the effective charac- 
ter of his colouring. After quitting Mazzuchelli 
he had the advantage of studying the works of 
the great masters at Rome and Venice, to which 
fact he owed the superiority above alluded to. 
The charm of the colouring of the Venetian school 
induced him to study more especially the works of 
Titian and Paolo Veronese, and he adopted an 
admirable style, which appears to have been formed 
ona mixture of both. He was invited to the Court 
of Victor Amadeus, Duke of Savoy, where he painted 
some historical works, and many portraits, which, 
according to Lanzi, were entirely Titianesque. He 
received at Turin the order of SS. Lazarus and 
Maurice in recognition of his merit. There are 
several of his works in the churches of Milan and 
Turin; one of his best pictures is ‘St. Theresa,’ 
in San Carlo at Venice. He died at Milan in 1674. 
His portrait by himself is in the Uffizi, Florence; 
in the Dresden Gallery is a‘ Venus and Apollo,’ by 
him, and in the Belvedere, Vienna, a portrait. 

CAISNE, Henri DE. See Dr CaIsne. 

CAISSER, HENRI DE, was a French engraver, 
who, according to Florent Le Comte, engraved 
several plates representing funeral processions, 
monuments, &c. 

CALABRESE, It. See Prert. 

CALABRESE, Marco. See Carpisco. 

CALABRIA, Prpro bE, a Neapolitan painter, 
was a scholar of Luca Giordano, and an imitator of 
that master, whom he accompanied to Spain and 
assisted in his works at Madrid. He painted battle- 
pieces with spirit, and was in the full exercise of 
his talent from 1712 to 1725. When or where he 
was born or died is not recorded. 

CALAMATTA, Luter, an Italian engraver, was 
born at Civita Vecchia in 1802. He studied draw- 
ing at Rome under Giangiacomo, took his early 
lessons in engraving from Marchetti, and executed 
his first plate under the eye of Ricciani. He went 
to Paris in 1822, and became a follower of Ingres, 
whose style he copied in his engraving of ‘The Vow 
of Louis XIII.’ He made his first appearance at the 
Salon of 1827, with an engraving of ‘ Bajazet and 
the Shepherd,’ after Dedreux-Dorcy. He next 
produced the ‘Mask of Napoleon,’ from the cast 
taken by Dr. Antommarchi at St. Helena in 1834, 

grouping around it asymbolic gathering, embracing 
portraits, chiefly from Ingres’ drawings, of Mme. 
Dudevant, Paganini, Martin, and Duclos, Hevisited 
Florence in 1836, and the following year saw him 
installed as professor at Brussels, a post which he 
eventually exchanged for a similar one at Milan, 
where he died in 1869, His wife was also an 
artist, and produced an excellent portrait of her 
father, the archxologist Raoul Rochette, as well as 
‘The Virgin’ (1842), ‘Eudora and Cymadaceus’ 
(1844), ‘St. Cecilia’ (1846), ‘Eve’ (1848), ‘St. Vero- 
nica’ (1851), and several other works remarkable 
for distinctness and firmness of design combined 
with delicacy and softness of treatment. The 
following is a list of Calamatta’s principal works: 
226 


RAPHICAL DICTIONARY | 


He died at Genoa, accord- | 


One 
Mona Lisa; after Leonardo da Vinct. 1837. — 
Madonna di Foligno; after Raphael 
The Vision of Ezekiel; after the same. 1853. 
Madonna della Sedia; after the same. Wepeee 

- Peace; after the same. 1855. ae 
Our Lord walking on the Sea; after Cigolt — 
Francesca da Rimini; after Scheffer. 

The Duke of Orleans; after Ingres 

Count Molé; after the same. 1855 

Mdlle. Boimard ; after the same. 

The Vow of Louis XIII.; after the same. 
Guizot; after Delaroche. : 
Portrait of an Actor; after Deveria. 
Portrait of Miss Leverd; after the same. | 
Portrait of Lamennais ; after Ary Scheffer. 
Beatrice Cenci, partly etched; after Guido Rent. 18: 
Recollections of Home, partly etched; after Stevens — 
Portrait of the King of Spain; after 1. Madrazo. — 
Portraits of Rubens, Georges Sand, and Ingres. 


CALAME, ALEXANDRE, was a landscape painter, — 
born at Vevay, Switzerland, in 1810. His father - 
was a poor stone-cutter, and after his death, 
Calame went to Geneva, and was apprenticed to 
a tradesman of that city; but in 1830 he entered — 
the studio of Diday, where he made rapid pro- — 
gress, and eventually succeeded him in the head- — 
mastership of the school. He exhibited a ‘Forest — 
Scene near Avranches’ in the Exhibition at Ham- — 
burg in 1837, which made a great sensation; and 
his ‘Waterfall at Handeck’ was considered by 
some to be the masterpiece of the Paris Salon of — 
1839. He visited Germany and Holland in 1839, — 
England in 1840, and Italy in 1845. His best 
works painted between the years 1838 and 1844 © 
are views of ‘Mont Blanc,’ ‘The Jungfrau,’ ‘The — 
Lake of Brienz,’ ‘The Bernese Oberland,’ and — 
‘Monte Rosa.’ Amongst his most characteristic — 
productions are ‘The Four Seasons’ and ‘The © 
Four Hours of the Day,’ which are landscapes full — 
of vigorous treatment and splendid colour. In — 
1855 he exhibited at the Universal Exhibition his — 
‘Lake of the Four Cantons.’ Calame was also © 
a lithographer and engraver, and his numerous — 
plates show much skill and correct taste. The — 
best known are the eighteen ‘Views of Lauter- — 
brunnen and Meyringen,’ and‘ Twenty-Four Alpine 
Landscapes.’ In 1863 he went to Mentone for — 
his health, and died there in the spring of 1864. — 
There are paintings by him at the Palace of — 
Rosenstein, belonging to the King of Wiirtemberg, — 
and in the following galleries: a 


> 


Basle. Museum. The Wetterhorn and Schreckhorn. — 
Berlin. Gallery. ~The Lake of Lucerne. 1853. a 
3, 5 A Mountain Ravine. 1855. a 
Berne. Gallery. Cascade at Meyringen. a 
“ <4 View near Handeck. i 
Frankfort. Stddel. Swiss View. + 
= a Swiss View. a 
Geneva. Museum. Forest at Handeck. 4 
Leipsic. Museum. Storm in the Forest. be 
London, © “ensing- ai Lake of the Four Cantons — 
: ton. (Lucerne). a 


; Chain of Mont Blane (water-colour). — 
Neuchatel. J/useuwm. Monte Rosa. 7 


CALANDRA, Giovanni BaTTisTa, was one of — 
the earliest of the mosaicists who wrought in the 
Vatican, and was born at Vercelli in 1568. Inthe © 
pontificate of Urban VIII., it was found that the — 
dampness of St. Peter’s had materially affected the 
paintings, and it was determined to remove the © 
principal pictures, and to replace them with copies — 
in mosaic, of which the first was executed by ~ 
Calandra, after the ‘St. Michael’ of Cesarid’Arpino. — 
With this were ‘The Four Doctors of the Church, ~~ 


_ after the cartoons of D’Arpino, 

| franco, Sacchi, and Pellegrini. The mosaic art was 

_ afterwards carried to a much higher degree of per- 

_ fection by the Cristofori. 

_ Madonna’ after Raphael for the Queen of Sweden. 
_ He died in 1644 or 1648. ; 


os » 
PA 


a 


‘St. Peter,’ ‘St. Paul,’ and others in the 


By cupolas, 


Romanelli, Lan- 


He also executed a 


CALANDRUCCI, Gracinro, was born at Pa- 


_lermo in 1646. He went early in life to Rome, 
_ where he became the favourite pupil of Carlo 


 Maratti. After giving the most promising essay of 


his abilities in that city, in his two pictures of ‘St. 


_ John the Baptist,’ in Sant’ Antonio de’ Portoghesi, 
and ‘St. Ann,’ in San Paolino della Regola, he re- 
_ turned to Palermo, where he painted his most con- 
- siderable work for the church of San Salvatore, 


ie representing ‘The Virgin, with St. Basil and other 


Saints,’ which, according to Lanzi, was not sur- 
passed by many pictures of the time. He died at 
alermo in 1707. His brother Domenico and his 
nephew GIAMBATTISTA were likewise painters, but 
neither achieved any great reputation. 
_CALAU, BeEnJAMIN, was a painter born at 
Friedrichstadt in 1724, whose work consisted 
chiefly of heads or portraits. He painted usually 
in dark tones, using as his medium Carthaginian 
wax (cire éléodorique), which the ancients made 
use of instead of oil for painting. This inven- 


| tion of Calau’s was in fact an attempt at repro- 
ducing the process described by Pliny. Further 


information on this subject may be found in a 
work entitled ‘Traité sur la Peinture des Anciens,’ 


by A. Riem, published at Berlin in 1787. Calau 


held for many years the post of Court painter at 
Leipsic. The Brunswick Gallery possesses two 
portraits by him, and the Berlin Art Gallery some 
of his work in wax. He went to Berlin in 1771, 
and died there in 1783. 

CALCIA, Giuseppe, called In GENovVESINO, was 
a Piedmontese artist, who from his appellation has 
been often confounded with Marco Genovesini, a 
Milanese. Giuseppe painted altar-pieces for the 
churches of Turin and Alessandria. In the church 
of the Dominicans at Turin, are pictures of ‘St. 
‘Dominick ’ and ‘St. Thomas Aquinas’ by this artist. 
He is much distinguished by his cabinet historical 
and sacred subjects, which are gracefully designed 
and well coloured; one, representing ‘Christ in the 


_ Garden of Gethsemane,’ now in the collection of the 
» Marchese Ambrogio Ghilini, is particularly noticed 


by Lanzi. 


He flourished about the year 1725. 
__ CALCKER, Jan Joost van, who was born at 
Calcker about 1460, studied first in his native 
| town, and then at Haarlem. In 1505-8 he 
painted scenes from the Life of Christ on the 
_ wings of the high altar in the church of the Virgin 
at Calcker; and in 1515 he executed a figure of 
St. Willebrod for St. Bavon at Haarlem. Works 
_ ascribed to him are at Wesel and Rees. He died 
| in 1519. 
CALCKER, JAN SrEPHANUS VAN, was born at 
 Calcker, in Cleve, about 1499, and worked first at 
Dordrecht, and afterwards, 1536-37, at Venice. In 
the latter city he entered the school of Titian, and 
‘acquired the faculty of imitating that master to a 
high degree of exactness, especially in his por- 
traits. Subsequently he became an equally sur- 
‘prising imitator of Raphael. He drew the illus- 
trations for Vesalius’s work on anatomy, and is 
said to have drawn the portraits of the artists in 
' Vasari’s Lives. He died at Naples in 1546, The 
‘following paintings are ascribed to him: 
| Q2 


ay: PAINTERS AND ENGRAVERS. 


Berlin, Gallery. Portrait of a Man. 1535 

Paris. Louvre. Portrait of a Young Man. 

Prague. Gallery. The Nativity (once the property of 
Rubens). 

Vienna. Gallery. Portrait of a Man. 


CALDARA, Potiporo, called PoLiporo DA CaRaA- 
VAGGIO, a painter who may be considered as be- 
longing to the Roman school, was born at Cara- 
vaggio in the Milanese in 1492 (?). His parents 
lived in the greatest indigence and obscurity, and 
after passing his youth in misery and want, he 
was obliged to leave home in search of employment, 
and on his arrival at Rome was engaged by the 
artists employed in the Vatican by Leo X., to carry 
the mortar for the plaster of their fresco paintings. 
Whilst he was occupied in this humble station he 
observed with great attention with what facility 
Maturino and Giovanni da Udine executed the 
designs of Raphael; and, inspired by his natural 
disposition for art, he made some attempts, which 
attracted the notice of Raphael, of whom he after- 
wards became one of the most illustrious disciples. 
His assiduous application in studying the ancient 
statues and bas-reliefs was such, that in a little 
time he appeared to have imbibed the true spirit of 
the Grecian sculptors, Finally he was selected by 
Raphael to paint the friezes which accompanied 
his works in the apartments of the Vatican; and 
they were in no way unworthy of being placed 
with the sublime productions of that great 
master. It was the custom at Rome, in the 
time of Polidoro, to ornament the exterior of the 
principal houses and palaces with the works of 
eminent artists, executed in a style called by the 
Italians sgrajitto, expressed by hatchings on the 
plaster, in the manner of engraving. In works of | 
that nature Polidoro and his friend Maturino were ' 
much employed ; and it is greatly to be regretted ' 
that exposure to the weather and the ravages 
of time have deprived the world of these valuable 
productions, of whose beauty we may form some 
judgment from the prints which have been en- | 
graved from some of them by Cherubino Alberti, 
Heinrich Goltzius, and Giovanni Battista Gales- 
truzzi. Polidoro was at the height of his success 
and popularity when Rome was taken by storm, and 
sacked by the Spaniards, in 1527. He took refuge 
at Naples, where he was most kindly received by 
Andrea da Salerno, whose acquaintance he had 
made at Rome, and who was the means of pro- 
curing him immediate employment. He soon 
opened a school there, and more particularly de- 
voted himself to the fresco decorations of walls 
and ceilings. After passing some time at Naples, 
he went over to Sicily, where his first employment 
was painting the triumphal arches which were 
erected at Messina on the occasion of Charles V.’s 
return from his expedition to Tunis. His next 
work was his celebrated picture of ‘Christ bearing 
the Cross,’ a grand composition of many figures, 
painted in oil with a beauty and harmony of 
colouring which proved that he was also capable 
of distinguishing himself in that branch of art. 
The story runs that, Rome being restored to tran- 
quillity, he was desirous of returning thither, and 
that, preparatory to his departure from Sicily, he 
drew from the bank his money, tempted by which 
his Sicilian servant, Tonno, murdered him at Messina 
in 1543. The principal works of Polidoro da 
Caravaggio are—his friezes and other ornaments 
in the Vatican; in the garden of the Palazzo del 
Bufalo at Rome, the ‘ Fountain of Parnassus ;’ and 

227 


A BIOGRAPHICAL 


in the court of the same palace his ‘ History of 
Niobe,’ (a sketch for which is in the Palazzo 
Corsini,) and some grand compositions of naval 
combats; in San Silvestro 4 Monte Cavallo, two 
subjects from the life of St. Mary Magdalene, 
with a very beautiful landscape; at Naples ‘St. 
Peter’ and ‘St. Paul, in the church of Santa Maria 
della Grazie, and several pictures in Sant’ Angelo, 
in Pascheria. The following of his productions 
may still be seen as under: 

Milan. Brera. Passage of the Red Sea. 

Naples. Museum. Christ bearing the Cross. . 1534. 
Paris. Louvre. Psyche received into Olympus. 
Rome. Capitol. Mus. Meleager. 

Vienna. Gallery. Cephalus and Procris. 


CALDECOTT, RANnpoLPH, was the son of an 
accountant at Chester, and was born in that city, 
March 22, 1846. He was educated at the King’s 
School, Chester, and in his boyish days seems to 
have shown the bent of his genius in drawings, 
sketches, and models of animals cut in wood. At 
the age of fifteen he became a clerk in the 
Whitchurch Bank, Shropshire, living in an old 
farm-house near the town, and in this country 
atmosphere gathered up a store of impressions at 
such scenes as meets, fairs, and markets, that later 
yielded rich fruit. He remained at Whitchurch 
for six years, and was then transferred to the 
Manchester and Salford Bank at Manchester, 
where he worked steadily at his duties for five 
years, meanwhile devoting all his spare time to 

_ evening studies in the Manchester Art School, and 
in summer weather to open-air sketching. In 1868 
his first published drawings appeared in a local 
paper called ‘ Will o’ the Wisp,’ to be followed the 
next year by some contributions to another paper, 
‘The Sphinx.’ At the same time he was painting 
a little for friends, chiefly hunting subjects, and 
in 1869 he exhibited a picture at the Manchester 
Royal Institution. His artistic gifts now appeared 
so unquestionable, that in 1870, acting on the advice 
of some friends, he went to London with a letter 
of introduction to Mr. Thomas Armstrong of the 
South Kensington Museum, who throughout his 
career consistently befriended him. Some drawings 
of Caldecott’s were submitted to Shirley Brooks, and 
to Mark Lemon, then editor of ‘ Punch,’ also to Mr. 
Henry Blackburn, who was on the staff of ‘London 
Society,’ with the result that the young man 
became one of the regular contributors to that 
journal. His water-colours and small oil-pictures 
also began tohave a widersale, and thus encouraged, 
he determined to give up his situation in the bank, 
and to devote himself to art. He came to London 
early in 1872, and worked for a time in the life 
class of the Slade School, under Mr. Poynter, 
In June of the same year his first drawing for 
‘Punch’ was published. It was the beginning of 
a long series of work for London illustrated papers 
such as the ‘Graphic,’ the ‘ Pictorial World,’ and 
the American ‘ Daily Graphic.’ In the illustration 
of books, Caldecott made his first essay in August 
1872, when he accompanied Mr. Blackburn to the 
Harz district, and executed a number of whimsical 
drawings for a book of summer travels by the 
latter, ‘The Harz Mountains, a Tour in the Toy 
Country.’ In 1873 he went to the Vienna Exhibition, 
to make drawings for the ‘ Daily Graphic.’ Later 
in the year he worked in M. Jules Dalou’s studio at 
Chelsea, the sculptor having made a compact with 
Caldecott, who was to teach him English, while 
he helped the novice with the clay. In 1876 

228 


DICTIONAR 


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APE WIR) alae sates fcr ii eas Oey, a 
Caldecott exhibited an oil picture at the Royal 
Academy, ‘There were Tree Ravens sat on a 
Tree, and a metal bas-relief, ‘Horse Fair in 
Brittany’; but towards the close of the year he 
began to show symptoms of failing health, and 
was obliged to winter in the South, whence he 
brought home innumerable sketches, and there 
he made the drawings illustrating Mrs, Comyns © 
Carr’s ‘North Italian Folk.’ In 1878 he agreed 
with Mr. Edmund Evans to illustrate some books 
for children, to be printed in colour. Of these 
the following is a complete list, with dates of — 
publication: ‘The House that Jack Built’ and — 
‘John Gilpin’ (1878), ‘Elegy on a Mad Dog’ — 
and ‘Babes in the Wood’ (1879), ‘Three Jovial — 
Huntsmen’ and ‘ Sing a Song of Sixpence’ (1880), — 
‘Queen of Hearts’ and ‘Farmer’s Boy’ (1881), — 
‘The Milkmaid’ and ‘ Hey-diddle-diddle’ (1882), — 
‘The Fox jumps over the Parson’s Gate’ and — 
‘A Frog he would a-wooing go’ Weenie et: 
Lasses and Lads’ and ‘Ride a Cock Horse to 
Banbury Cross’ (1884),‘Mrs, Mary Blaize’ and ‘The © 
Great Panjandrum’ (1885). Of books illustrated — 
in black and white we may mention Washington — 
Irving’s ‘Old Christmas’ (1875), and ‘Bracebridge — 
Hall’ (1876), ‘ Adsop’s Fables with Modern In- — 
stances’ (1883); also illustrations for several of 
Mrs. Ewing’s books, notably ‘Jackanapes’ and 
‘ Lob-lie-by-the-Fire,’ Various tours in Brittany — 
in company with Mr. Henry Blackburn were com- 
memorated by drawings and terra-cotta studies of — 
Breton life. For many years Caldecott suffered — 
from heart complaint, the result of rheumatic fever, 
and in the winterof 1885-6 he was advised to winter — 
in Florida, He accordingly sailed with his wife — 
for the United States. The season, unhappily, 
proved abnormally severe. He reached St. Augus- — 
tine’s, Florida, but only to die, February 12, 1886. _ 
His last work was part of a series of ‘American — 
Facts and Fancies’ drawn for the ‘ Daily Graphic.’ _ 

CALDERARI, Grovannt Maria. See ZAFFONI. 

CALDERON DE LA BARCA, VICENTE, a © 
Spanish painter, who was born at Guadalaxara in ~ 
1762, was a scholar of Francisco Goya, and distin- 
guished himself as a painter of history and por- 
traits, particularly the latter, in which he excelled. 
His best historical picture is the ‘ Birth of St. — 
Norbert,’ in one of the colleges at Avila, Hedied — 
in 1794, y 

CALDERON, Puitip HERMOGENES, was born in — 
1833. His father was Juan Calderon, Professor — 
of Spanish Literature at King’s College, and his — 
mother was a French lady. He was educated at — 
Leigh’s School; there his intimate friends were — 
Stacey Marks and Walter Thornbury; and after — 
that he went to Paris with Marks and studied a — 
while under M. Picot. His first exhibited picture — 
was hung at the Royal Academy in 1853, and — 
illustrated the words, ‘By the waters of Babylon ~ 
there we sat down.’ His next was not shown till — 
1855 and was also of a religious character, illus- 
trating the words, ‘Thy will be done.” Up tothat — 
time he had remained uncertain whether art was — 
his true vocation or not, and whether he was ever — 
likely to make a mark in the world, but his third — 
painting, ‘Broken Vows,’ was not only well received — 
but well hung, sold and engraved, and it also won ~ 
him a wife, so that his decision on that score was 
settled. He married in 1859, was elected A.R.A. 
in 1864 at the same time as Leighton, and became ~ 
R.A. in 1867, and Keeper of the Academy in 1887. — 
He died in April 189%. Other notable works 


“ae 


NOILVIONO NGS 
uopuoTy ‘AtLajjvy Av Zz, | Lopoyd su7y 


2 a tee 
oe et ae 


which he painted were, * After the Battle,’ ‘ Kath- 
_ erine of Aragon and her Women at Work,’ ‘ John 
_ Hampden,’ ‘ Her Most High, Noble, and Puissant 


Grace,’ ‘Home after Victory,’ ‘ Whither,’ ‘The 
Olive,’ and ‘The Vine,’ and other decorative works 
executed for Mr. Aird. None of his pictures, how- 
ever, attracted so much attention as the one now 


_ called ‘ Renunciation,’ and which, painted in 1891, 
was bought by the Chantrey Trustees and is now 


at the Tate Gallery. At first it bore the name of 
‘St. Elizabeth of Hungary,’ and was intended to 
illustrate an episode in her career, and the in- 
accuracy of the historical knowledge displayed by 
the artist, who had taken his idea from a poem by 


_ Kingsley, aroused a vigorous discussion in the 


‘Times.’ The writer of this article approached Mr. 
Calderon many years afterwards when the picture 
was to be hung in the Tate Gallery, and he met 


the question of an aggrieved religious sentiment 


which was concerned with the title in the frankest 
manner, and gladly altered, with the consent of 
the owners of the picture, the title to the one which 
it now bears, and which does not reflect upon the 
character of the saint, and makes the picture depict 
‘merely an imaginary scene, G. C. W. 

CALDWALL, James, an English designer and 
engraver, was born in London in 1739. He was 
instructed by Sherwin, and became an excellent 
draughtsman. His work is characterized by a 
brilliant technique, a feature especially remarkable 
in his portraits. 
known to have lived till 1789. Amongst his best 
productions are the following : 


PORTRAITS. 
Sir Henry Oxenden, Bart. 
Catharine, Countess of Suffolk. 
Sir John Glynne, Chief Justice of the King’s Bench. 
Sir Roger Curtis; after W. Hamitton. 
Admiral Keppel. 
Jchn Gillies, LL.D., historian. 
David Hume, historian. 
Mrs. Siddons and her Son, in the character of Isabella, 
after W. Hamilton. 1783. 


VARIOUS SUBJECTS. 

The Immortality of Garrick; after Carter, the figures 
engraved by Caldwall, and the landscape by S. Smith 
1783. 

The Féte Champétre given by the Earl of Derby at the 
Oaks; after R. Adams, engraved by Caldwall and 


Grignion. é 
The Camp at Coxheath; after W. Hamilton. 1778. 


His brother, JoHN CALDWALL, who died in 1819, 
painted miniatures in Scotland. > aay 

CALENSE, Czrsarz, according to Dominici, was 
a native of the province of Lecce, in the kingdom 
of Naples, and flourished about 1590. It is not 
said by whom he was instructed, but he achieved 
some reputation by a graceful manner, united with 
correct drawing and a knowledge of chiaroscuro. 
In the church of St. John the Baptist at Naples is 
a fine picture by this master of the ‘ Descent from 
the Cross,’ with the Marys, St. John, and other 
figures, full of feeling and expression, and signed 
with his name. 

CALETTI, Gruseprz, called IL CREMONESE, 
was a painter born at Ferrara about the year 1600. 
He first applied himself to study the works of 


- Dosso Dossi, but he afterwards became an imi- 


tator of Titian, particularly in his Bacchanalian 
subjects. In these specimens of Caletti’s art the 
figures are generally smaller than life. He ap- 
proached so near to the glowing tones of that 


By the dates on his prints he is | 


oe PAINTERS AND ENGRAVERS. 


mascer, that Baruffaldi reports that he had seen 
many of his pictures in the galleries of the nobility 
at Bologna which were believed to be the works of 
Titian, and he is said to have been able to counter- 
feit a certain patina which time gives to painting, 
and which improves its harmony. His deceptions 
were, however, frequently discovered by his inat- 
tention to costume, and the introduction of the 
most absurd improbabilities. In the midst of his 
Bacchanalian subjects it was not unusual for him 
to introduce a modern gambol, or a hunting inci- 
dent ; and, as it is sarcastically observed by Lanzi, 
‘“‘he placed wild boars in the sea, and dolphins in 
the forests.” He has, however, proved himself to 
have been capable of nobler ideas by his picture of 
the ‘ Four Doctors of the Church,’ and his still more 
admired production of the ‘Miracle of St. Mark,’ 
both in the church of San Benedetto at Ferrara. 
This last-mentioned work is described as designed 
with correctness and grandeur, and full of fine ex- 
pression. His death occurred about 1660. He is 
known also as the engraver of some twenty-four 
plates now scarce, They are characterized by a 
peculiar manner of treatment, consisting of the 
employment of bold parallel strokes without any 
cross-hatching. Some of them are marked with 
the letters J. C. F. Amongst the more important 
of them may be mentioned: 

David, whole-length, with the head of Goliath. 

David, half-length, with the same, 

Samson and Delilah ; very fine. 

The Beheading of St. John. 

St. Roch kneeling. 

Portraits of the Dukes of Ferrara. 


CALIARI, BENEDETTO, was the brother of Paolo 
Veronese, and assistant to him in painting. After 
Paolo’s death, he, in conjunction with his two 
nephews, Gabriele and Carletto, carried on a sort 
of firm for the sale of pictures from Veronese’s 
designs, or in his style. Many works attributed 
to him were doubtless executed by them. They 
signed collectively as ‘ Paolo’s heirs.’ Benedetto 
died in 1598. 

CALIARI, CaruettTo, the youngest son of Paolo 
Veronese, was born in 1570, and died in 1596. He 
was educated by his father as a painter, and showed 
great ability; but dying at the early age of 26, 
his powers had not full time for development. 
His name is attached to several large pictures of 
banquets in Veronese’s style. 

CALIARI, GaBriELe, the eldest son of Paolo 
Veronese, was born in 1568, and died of the 
plague in 1631. He painted a few pictures, but 
had not the same talent as his younger brother, 
and devoted himself chiefly to commerce. 

CALIARI, Paoto, (or CaGLiARI,) commonly 
called PAoLO VERONESE, was born (as his cognomen 
indicates) at Verona in 1528. He was the son 
of a sculptor named Gabriele Caliari, and was at 
first educated by his father in his own branch 
of art. Paolo’s taste, however, led him more 
towards painting, and his father, seeing this, 
sent him to study in the workshop of Antonio 
Badile, a Veronese painter of some reputation, 
by whom several authentic works still remain. 
The school of Verona had, even in the 15th cen- 
tury, risen into notice, and at the beginning of the 
16th it included many masters of note. In Caliari 
the school may be said tu have culminated and 
ended. Among Paolo’s earliest works may be men~ 
tioned a ‘ Madonna and Child with Saints and donor,’ 
now in the Gallery at Verona; a ‘St. eee 


in the Cathedral at Mantua, since disappeared 5 and — 


some wall-paintings in the Casa Contarini. After 
executing these and several other works in his 
native town, he went to Castelfranco, where he re- 
ceived a commission to decorate the Villa Soranzo 
with large frescoes. He took with him as assistant 
to Castelfranco Giovan Battista Zelotti, who was 
at that time a youth of nineteen, and who worked 
for some time with Paolo, decorating not only 
Soranzo, but another splendid Villa—Fanzolo—and 
executing several works in the church of San 
Liberale. Many of these works still remain, and 
testify to the early, or, as it may be called, the 
Veronese, manner of Paolo, formed chiefly on that 
of his master Badile and that of Paolo Morando. 

Many of Paolo’s peculiar characteristics had, 
however, manifested themselves, and he was al- 
ready a painter of note and achievement before he 
was called to Venice in 1555. His first works in 
Venice were for the church of San Sebastiano. 
Here after painting the ceiling of the Sacristy, he 
was commissioned to undertake the ceiling of the 
church itself, which he decorated with gorgeous 
scenes from the history of Esther. These were so 
much admired that the prior further employed him 
to paint a beautiful altarpiece of the Madonna in 
Glory and several smaller works. - 

The stimulus given to Paolo’s art by thus being 
brought in rivalry with the great masters of Venice 
was just what was needed for the development of 
his style. His colour became warmer and more 
harmonious, and his forms more full of life and 
motion. In some historical paintings executed in 
the castle of Tiene near Vicenza, his richness of 
colour and grandeur of composition are fully evi- 
dent. He does not appear at first, however, to have 
attracted much remark at Venice, and it was not 
until the patriarch Titian in 1561 selected him, with 
several of the younger painters of the time, as 
suitable to be entrusted with the decoration of the 
great hall of the library lately built by Sansovino, 
that his powers were properly recognised. Here 
Paolo painted three allegorical medallions, repre- 
senting ‘Music,’ ‘Mathematics,’ and ‘Fame,’ and 
carried off, as Vasari relates, the prize of a gold 
chain that had been promised for the best painting 
done in the library. After this he worked in com- 
pany with his early assistant, Zelotti, who had also 
come to Venice, in several of the halls of the Ducal 
Palace, covering the ceilings and walls with mag- 
nificent allegories. 

In 1562 he received the commission to paint for 
the refectory of the convent of 8. Giorgio Maggiore 
the celebrated picture of the ‘ Marriage at Cana,’ now 
in the Louvre.’ Every one knows this magnificent 
banqueting scene, and has formed some idea from 
it of Paolo’s gorgeous style and mode of concep- 
tion. Above all things he delighted in the pomp 
and splendour of earthly pageantry, the vainglory 
of mortal man, the material riches and beauty of 
existence ; and this with no hint that such things 
are vanity, no belief in any higher life than that 
afforded by the depraved but lovely Venice in which 
he dwelt. It seemed to him, therefore, no anomaly 
to introduce Jesus of Nazareth into the midst of a 
lavish, tumultuous banquet, whereat the bride, 
Eleanor of Austria, and the bridegroom, Don 
Alfonso d’Avalos, are supported by such noted 
historical characters as Francis I. of France, the 
Emperor Charles V., Queen Mary of England, and 
the Sultan Soliman I. The musicians also are all 
portraits of painters of the time. 

230 


_ A BIOGRAPHICAL DIC 


This was the first of severa 
scenes painted by Paolo, amon 
mentioned ‘The Feast of the L 
demy at Venice, and the ‘Supper 
Simon,’ in the Louvre. Other represent 
the same scene are to be found at the B 
Milan, the Durazzo Palace at Genoa, and th 
den Gallery. The ‘Supper at Emmaus’ was like- 
wise a favourite subject with this master. In the 
well-known Louvre example the painter has intro-- 
duced himself and his family as present in the 
solemn scene. Two of his little girls play witha 
large dog in the foreground, while his wife holds a 
baby in her arms, and her sons play near her, 

About 1563 Paolo was again employed in paint- 
ing in the church of San Sebastiano. Here he now 
represented, in two magnificent wall-paintings, the __ 
martyrdom of the Saint to whom the church was _ 
dedicated, and ‘SS. Marcellus and Marcellinus on 
the way to Martyrdom.’ These are two of Paolo’s 
finest works, full of movement, beauty of colom 
and dramatic effect. Indeed, the whole church o 
San Sebastiano glows with his work, and remains 
splendid monument of his masterly power and skill. 
Another celebrated monument is the Villa Masiera, 
a palace built by Palladio for the Venetian patri-— 
cians, Marcantonio and Daniele Barbaro. Paolo 
was employed to decorate this magnificent villa, _ 
and achieved his task in the most gorgeous man- 
ner, his fancy running riot amidst gods and god- 
desses, loves and nymphs, and other creations of __ 
heathen mythology and imaginative symbolism. 
Charles Blanc has given a detailed description of 
the Villa Masiera in the Gazette des Beaux Arts, — 
and many other writers have testified to the charm 
of these wonderful works. They were probably — 
executed about 1566, for Vasari speaks of themin =— 
the second edition of his Lives, published in 1568. 
About the same time, probably, Paolo painted on = 
canvas the historical picture of the ‘Family of 
Darius,’ now in the National Gallery. ; | 

It is possible that at some period of his life 
Paolo went to Rome, and saw the works of 
Michelangelo in the Sistina, or drawings from 
them, for in some of his fresco decorations his 
style, strange to say, resembles that of the great 
Florentine master. But Veronese never rose to 
the lofty heights of the ideal that Michelangelo 
trod so fearlessly. He aimed at magnificence more 
than sublimity, and surrounded his saints and holy 
persons with every material good, as if to com- 
pensate them for the woes they had endured while © 
onearth. His fondness for banquets is amusingly 
illustrated by a memorandum, quoted by Ridolfi, 
from the back of one of his drawings. In this he 
declares his intention of representing, when he has 
time, ‘a sumptuous repast in a superb gallery, at 
which the Virgin, the Saviour, and St. Joseph shall 
be present, served by the richest cortége of angels 
that it is possible to imagine, who shall offer them, 
on plates of silver and gold, the most exquisite 
viands and fruits. Others shall be occupied in pre- 
senting to them, in transparent crystal and gold 
cups, precious liqueurs, to show the zeal with which 
happy spirits serve the Lord.’ 

Of Paolo Caliari’s domestic life little is known. 
He married a daughter of his master, Antonio 
Badile, and had several children, whom he has 
depicted in some of his pictures. His eldest son, 
Gabriele, was born in 1568, and Carletto in 1570. 
Both brethers adopted their father’s profession, 
but Carletto had by far the most talent. After his 


Sttvq ‘atanoT | 


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ered a number of pictures 
lesigns, and in his nanner. Paolo’s 


liari, by his early companion Zelotti, and 
other painters, so that many works are set 
to him which are merely the productions of 
school. 
2010 does not appear to have left Venice for 
‘ long period after he had once settled there. 
e journeyed to Vicenza and a few other places in 
he Italy occasionally for the execution of 
commissions ; but, for the most part, all his great 
: orks were executed in Venice and for Venice. 
said he was invited to Spain by Philip II. to 
ist in the decoration of the Escorial, but he de- 
ned the invitation, and devoted himself wholly 
the service of Venice. 
Paolo Veronese is well represented in the National 
allery, where there are no fewer than six pictures, 
: cluding the large and important, but uninteresting, 
§ tee of Darius, painted for the Pisani family. 
The ‘ Vision of St. Helena’ (No. 1041), added to 
the collection in 1878, is a charming example of 
his school. There is a noble grace and poetry 
about this work that leads one to regret that 
festive banquets and gorgeous altar-pieces had 50 
large a share of his time. 
_ Paolo Caliari died at Venice, April 19, 1588, and 
was buried in the church of San Sebastiano, which 
_ he had adorned with so many splendid works, 


PAINTINGS ATTRIBUTED TO CALIARI. 


Taking down from the Cross. 
af Portrait of P. Guarianti. 
» Ch. of 8. Giorgio. Martyrdom of St. George. 
» Ch. of S. Paolo, Madonna with two Saints, 
_ Venice. Acad.of Fine Arts. Feast of the Levite. 
ie oe es Crucifixion. 
os ‘a » SS. Matthew and Mark. 
* % e SS. Luke and John, 
af - 9% Ezekiel. 
0 oF - Isaiah. 
¥ a a Battle of Lepanto, 
Annunciation, 
Assumption. 
Glorified Madonna with St. 
Dominick. 
a Madonna with Saints. 
Coronation of the Virgin. 
Rape of Europa. 
Allegories: Music, Mathemat- 
ics, and Fame. 
Adoration of the Magi. 
Venice Enthroned. 
Battle of Lepanto. 
Venice Enthroned, with eight 
allegories around. 
“ Apotheosis of Venice. 
a Manfrini Palace.J upiter and Hebe (cez/ing). 
»,  Ch.of SSebastiano.Coronation of Virgin. 
The four Evangelists. 
Three scenes from life of Esther. 
Madonna in glory. 
“a * ie St. Sebastian beaten with rods. 
ke ie te St. Sebastian before Diocletian. 
me Ay fe Miracles at Porch of Bethesda, 
A -e », Purification of the Virgin. 
aN e » 88. Marcellus and Marcellinus. 
e g et Martyrdom of St. Sebastian, 
rd a » Crucifixion. 
He Madonna and Child. 
Ch. of S.Catarina.Marriage of St. Catharine. 
Ch.of S. Francesco.Holy Family. 
a Resurrection. 
Ch. ‘of St. Andrea.St. Jerome, 
Castlfnco.Ch. of S.Liberale Justice. 
Temperance. 
Time and Fame, 


‘Verona, Pinacoteca. 


3” 99 ” 
2? 3? ”? 
9 ” ” 


%9 ” 
99 ? 
a Ducal Palace. 


9 ? 9 


” ” 29 
” 9 29 
”? ” ” 
” ? ? 


” ha ? 
9? ? ” 
”? ” 99 


”? ” 9 
” LPd 29 


closely copied by his brother Bene- | 


99 
Vienna. 


9 99 
Madrid. Gallery. 


“Murano. Ch. of St. Piétro.8t. Jor erome in the Desert. 


Florence. Uffizi. Man’s Portrait. 
” Ss Holy Family and St. Catharine. 
” ai h Annunciation. 


Martyrdom of St. Justina. 

Esther before Ahasuerus. 

Portrait of a Man. 

Holy Family. 

” Head of St. Paul. 

i Portrait of Painter’s wife. 

Portrait of Daniele Barbaro. 

St. Benedict. — 

Presentation in Temple. 

Baptism of Christ. 

Feast in House of Simon. 

Adoration of the Magi. 

SS. Gregory and Jerome. 

SS. Ambrose and Augustine. 

Baptism of Christ. 

SS. Anthony, Cornelius» and 
Cyprian. 

Last Supper. 

Passion of Christ. 


Milan. Brera Gallery. 


99 99 ” 


99 29 39 


” ? 
Rome. Vatican. t Dream of St. Helena. 
ea Palazzo Doria. Angel with Tambourine. 


Christ bearing the Cross. 

pt MF », Portrait of a Woman. 

», Palazzo Borghese.St. John preaching in Desert. 

St. Anthony preaching to the 
fishes. 

7 ie a SS. Cosmo and Damian. 

»» Colonna. Portrait of a Man in Green. 

», Palazzo Corsint. Marriage of St. Catharine. 


3? 9 ?? 


99 99 2? 


Bergamo. Gallery. St. Christina. 
Brescia. Ch. of S. Afra. Martyrdom of St. Afra. 
Turin. Pnacoteca. Feast at the House of Simon. 


Visit of Queen of Sheba. 
Genoa. Palazzo Brignole.Judith. 
fp Several Portraits. 
Vicenza. Monte Berico. Supper of St. Gregory the 
Great. 


Padua. Santa Giustina. Martyrdom of St. Justina, 
Paris. Louvre. Marriage of Cana. 

"a re Feast in House of Simon. 

mY fF Susannah and the Elders. 

oe a Supper at Emmaus. 
Rennes. Museum. Perseus and Andromeda. 
Rouen. Museum. St. Barnabas healing the sick. 


London. re is aoa Alexander and Family of Da- 
rius. 

Adoration of the Magi. 

Consecration of St. Nicholas. 

Vision of St. Helena. 

Four Allegorical Groups. 

Mercury and Aglauros. 

Marriage of St. Catharine, 

Adoration of the Magi. 

Marriage at Cana. 

Christ bearing the Cross. 

Madonna of Cuccina Family. 

Crucifixion. 

Resurrection. 

Death of St. Catharine. 

Venus and Adonis. 

sf a Portrait of Daniele Barbaro, 

+4 a Leda and Swan. 

oe Susannah and Elders, 

ce Good Samaritan. 

Centurion of Capernaum. 

Justice, with sword and balance. 

Love. Mother with three chil- 
dren. 

Faith,with a chalice in her hand. 

Strength. A powerful female 

orm, 

Portrait of a Woman in brown 
dress. 

Holy Family. 

Death of Cleopatra. 

Repose in Egypt. 

Christ healing St. 
Mother-in-law. 

St. Paul. _ 

Venus and Adonis. 


99 99 99 
99 99 99 
99 99 99 
99 99 : a 
Cambridge. Fitzwilliam. 
Oxford. Christ Church. 
Dresden. Gallery. 
99 99 
9? 99 
99 99 
9? 29 
9 9 
99 99 
99 99 


2? 
9? 


Munich. Pinakothek. 


99 99 


2? 29 
99 9 


9 99 


9 9 
9 99 


Belvedere. Peter’s 


231 


CO gp _ ie ee ee 
4 ts 


A BIOGRAPHICAL DICTIONARY OF — | ‘a 
Moses saved from the Waters. | than his pictures; they are purchased at consider- 


id. Gallery. 
ph paent Christ at the House of the 


99 9? 


able prices in Holland, where they are found inthe __ 


Centurion. choicest collections, It is believed that he occa- — 
» ” eee sata re ats Ai gs, | sionally worked in conjunction with Bakhuisen. 
» » aha hee A series of views from his drawings, chiefly repre- _ 
* ‘ The Magdalene. senting scenes on the Rhine, have been published ~ 
v i, The Marriage at Cana. by Schenk. He was also clever as an engraver, 
- - Calvary. his plates being principally landscapes from his 


The Woman taken in Adultery. 
(also assigned to Zelotti and 
Paolo Farinati). 

A Youth between Vice and 
Virtue. 

The Sacrifice of Abraham. 

Cain wandering with his Fa- 


mily. 
Several Female Portraits. 


FRESCOES. 


Villa Fanzolo. Fault and Punishment of Calioto. 
Death of Virginia. 

Ceres. 

Scipio restoring Captive Io. 
Allegories. 

Scaevola before Porsenna. 
Cleopatra. 

Sophonisba and Massiniosa. 
Xerxes receiving Tribute. 

Muses. 

Allegories of Music, &c. 

Venus with Graces. 

Gods of Olympus. 

Group of lady and boys in a Balcony. 
Allegories. : 
Anthony and Cleopatra. 

Family of Darius. 

Hannibal’s Oath. 

Founding of Carthage. 

Triumph of Caurillus. 

Triumph of Coriolanus. 
Cincinnatus at the Plough. 
Cincinnatus in Battle. 


CALICI, AcHI..#, a Bolognese painter, was born 
about the year 1565. He was a scholar of Pros- 
pero Fontana, but, preferring the finer style of 
Lodovico Carracci, he became his disciple, and, 
according to Malvasia, painted the two laterals of 
the high altar in the church of San Michele Arc- 
angelo at Bologna, ‘representing St. Michael, and 
the angel Raphael and Tobias. 

CALIGARINO. See CaPELLIni. 

CALIMBERG, JosEPH, was a native of Ger- 
many, who was born about the year 1505, and 
passed the greater part of his life at Venice. Of 
his works in that city there remains, according to 
Lanzi, at the Servi, the ‘Battle of Constantine.’ 
His style is not without merit, though rather heavy 
in execution, and sometimes dark and disfigured 
by mannerism. He died at Venice in 1570. 

CALISTO pa LODI (or Catixrus LavpeEns!s). 
See Piazza. 

CALL, JAN VAN, was an artist born, according 
to Descamps, at Nimeguen in 1655. He is said to 
have attained considerable proficiency in painting 
without the help of an instructor. His first 
attempts were made in copying the landscapes of 
Jan Brueghel, Paulus Bril, and Willem van Nieu- 
lant, and he studied attentively the principles of 
perspective and architecture. He afterwards tra- 
velled through Switzerland to Italy, and, during a 
residence of some years at Rome, formed an 
ample collection of designs from the most pictur- 
esque views in the environs of that capital. He 
returned through Germany to his native country, 
and established himself at the Hague, where he 
died in 17C3. His drawings are more esteemed 

232% 


9 
Villa Tiene. 
39 
33 


Villa Masiera. 


>» 


own designs. 

CALL, Jan vay, ‘the younger,’ was a clever 
designer and painter, the son and pupil of Jan van 
Call. He was employed in 1748 by the King of 
Prussia to make water-colour sketches of the 
battles and sieges in the Flemish wars under 
Louis XV. x Obst 

CALL, PIfTER VAN, was a son and pupil of Jan 
van Call the elder, and was born in 1698. He 
designed good landscapes, some of which he also 
engraved. His best drawings, however, are his 
architectural subjects. He died in 1737. 

CALLCOTT, Sir Augustus WALL, an English 
landscape and marine painter, was born at Ken- 
sington in 1779. He was brother of the distin- 
guished musical composer, Dr. Callcott, and in 
early life was a chorister at Westminster Abbey. 
He, however, preferred painting to music, and for 
some time pursued both studies, until the success 
of a ‘ Portrait of Miss Roberts,’ which he painted 
under the tuition of Hoppner, in 1799, and which 
he exhibited, led him to the final choice of paint- 
ing as his profession, Very little experience, how- 
ever, showed him that portrait work was not suited 
to his taste, and from 1803 he devoted himself — 
exclusively to landscape painting. His first efforts 
were chiefly limited to English coast and river 
scenery, or to views on the Dutch coast; but after 
a visit to Italy in 1827 he devoted himself more 
to Italian landscape; his works, which have a 
general tendency in the direction of Claude Lor- 
rain, being marked by much taste in their 
composition. But it must not be inferred that 
he is to be compared with that master; it would 
be more correct to say that both looked at nature, 
and that each succeeded in his own way. His 
marine pictures please by their tranquillity ; all 
are beautiful in the selection of objects, but they 
are sometimes cold and monotonous in colour. He 
was for many years a contributor to the exhi- | 
bitions of the Royal Academy, of which he was- 
elected an Associate in 1806, and an Academician 
in 1810. His most successful production in figure 
painting was his picture of ‘ Raphael and the Forna- 
rina,’ exhibited in 1837. In February, 1827, Callcott 
married, and shortly afterwards started on a tour 
through Italy. On his return he took a house in the — 
Mall, and became a fashionable artist. His wife, who 
was an accomplished woman, assisted him by her — 
literary labours on art subjects. On the accession 
of Her Majesty, Callcott, who was then one of the 
favourite artists of the day, received the honour of 
knighthood. Sir Augustus Callcott died in 1844, 
regretted by those who knew him, for he was a 
liberal patron of young artists, and kind and 
courteous to all. His works are mostly views of 
English scenery, though he sometimes varied them 
by producing figure subjects in conjunction with 
landscape. Some of his best known paintings 
are: 


Nat. Gall, Dutch Peasants returning from 
Market (2. 4., 1834). 
Coast Scene — Waiting for the 


Boats. ™ 


London. 


29 *o 


Pie 4 


, ae ae a 
- aN 


Nat. Gall. Landscape with Cattle. 
9, +The Wooden Bridge. 
The Old Pier at Littlehampton 
(R. A., 1812). 
Entrance to Pisa from Leghorn 
(R. A., 1833), 
Dutch Ferry—Peasants waiting 
the Return of the Passage Boat 
(R. A., 1834). 
View on the Coast of Holland. 
- Italian Landscape. 
A Brisk Gale (#. A., 1830). 
Anne Page and Slender. 
i - Dort (R. A., 1842). 
\ i A Sunny Morning (R. 4., 1813). 
, Earlof Durham. Calm on the Medway. 
_ CALLEJA, AnprEs DE LA. See Dr La CALLESA. 
__ CALLET, AtpHonse ApoLtoporE, a French 
storical painter, was born in Paris in 1799. He 
the brother of Félix Callet, the architect, and 
studied under David and Regnaud. He died in 
aris in 1831. The Museum of Rouen has by him 
“The Embarcation of the Pargiotes.” 
ALLET, ANTOINE Francois, a French historical 
nter, was born in Paris in 1741. He gained the 
Prix de Rome’ in 1764 with his ‘Cleobis and 


the Temple of Juno,’ now in the Ecole des Beaux- 
Arts, and was made an Academician in 1780, on 
which occasion he painted a part of the ceiling, 
representing ‘Spring,’ in the Gallery of Apollo in 
he Louvre. He exhibited for a period of nearly 
forty years, his pictures embracing historical events 
of his time, and various mythological and allegorical 
subjects. There are four examples of his work, a 
_ series representing ‘The Seasons,” on the walls of 
___ the Louvre, as well as a ‘ Triumph of Flora,’ which 
___is pleasing and harmonious in tone, in the La Caze 

_ Collection at the same place. He also painted the 

_ ceiling of the Spinola Palace at Genoa, on which 
is represented the ‘Apotheosis of Ambrogio Spi- 
nola.’ There are by him at Versailles allegories 
of the battle of Marengo, the surrender of Ulm, 
and the battle of Austerlitz, as well as the well- 
known full-length portrait of Louis XVI. in his 
__ Goronation robes, of which there is a replica in the 
Madrid Gallery. This portrait has been engraved 
7 Bervic. Callet belonged to that school of 

rench art of which Vien was the most distin- 

. guished representative, and which, by rescuing it 
_ from the degeneracy of Boucher, prepared the 
_ way for the epoch of David. He died in Paris in 


_CALLIAT, Pisrre Vicror, an architect and 
_etcher, was born in Paris in 1801. He studied 
under Vaudoyer and Chatillon, and was appointed 
in 1845 Inspector of Works for the Hétel-de-Ville, 
and later for the city of Paris. He died in 1881. 
He published, amongst other works, 
_ The Hotel de Ville, Paris, with 48 etched plates ; 1844-56. 
The Houses of Paris, built from 1830—1864, with 246 
etched plates ; 1850-64. 
The Church of St. Eustache, with 11 etched plates ; 1850. 


CALLISTO pa LODI. See Piazza. 

CALLOT, Jacques, a French engraver and 
draughtsman, was born at Nancy in 1592. He 
was the son of Jean Callot, who was of a noble 
family and Herald at Arms for Lorraine. The 
story of Jacques Callot’s early life, as usually 
given, runs to the effect that his father had in- 
tended him for government service, but that his 
desire for studying the arts was so strong that he 
ran away to Italy at the age of twelve, and on his 


- _ nel ig 
PD ty Ma 


iton conducting the Chariot of their Mother to 


_ PAINTERS AND ENGRAVERS. 


merchants, was brought home, only to escape again 
shortly afterwards with no better success, one of his 
brothers encountering him in the streets of Turin, 
and conveying the runaway again forthwith to the 
parental roof. To the patient and laborious inves- 
tigations of M. Edouard Meaume we owe the know- 
ledge of one or two facts which bring parts of the 
above story within the range of probability. That 
author has discovered that no fewer than four 
of Callot’s brothers became members of religious 
orders, and he suggests, not without reason, that 
the impetuous character of the future artist was 
the cause of his rebelling against the character of 
the preliminary training which was intended to 
produce a like result in his case. He has further 
pointed out that there is ample proof of the ex- 
istence of an intimate friendship, in spite of some 
little disparity of years, between Henriet Israel, 
the son of the court painter to the Duke of Lor- 
raine at that day, and Jacques Callot, as well as of 
the fact that the lad was getting aid from the 
counsels of the court painter himself, and some 
early lessons in the graver’s art from the royal 
engraver, Dumange Crocq. The death of the 
painter royal in 1603, and the appointment of 
Bellange, then recently arrived from Italy, to the 
vacant post, led to the departure of Henriet Israel 
for Rome. And Rome became naturally enough 
the point on which the youthful Callot’s eyes were 
fixed when it became a question with him whether 
he should any further submit to the home treat- 
ment which was so irksome to him, or take refuge 
in flight. At Rome were the treasures of art of 
which he had heard so much; at Rome was a 
friend with whom he was sure of a welcome, at 
whose side he longed once more to place himself, 
The fact that he made his way as far as Florence 
in the company of a party of gipsies, the men of 
the party being, as seems to have been gipsy 
custom in those good days, armed to the teeth, is 
well established ; and it is equally clear that at 
that city he worked for some time in the graver’s 
atelier of Canta-Gallina. That artist did him good 
service in compelling him for a time to moderate 
his natural tendency for the grotesque by copying 
from the best masters. But Rome, the goal of his 
wishes, had not yet been reached, and so, after 
some months of life in Florence, the boy was away 
on the march again, and this time reached the 
Eternal City. It would seem not improbable 
that his friend Henriet Israel, after giving him a 
most cordial welcome there, may have sent word 
to his family of the boy’s whereabouts, in order 
to relieve their anxiety, and thus it may have 
been arranged for him to travel home under the 
convoy of the local merchants. It is not quite so 
easy to suggest the real account of the difficulties 
that terminated his second attempt to reach Rome. 
His father’s Court influence may have probably 
enough put the authorities of some of the prin- 
cipal towns on the guz vive for the young fugitive, 
and so a second time have led to his being taken 
back to Nancy. Eventually his father, finding it 
the best course to yield to his son’s inclination, con- 
sented to his going to Italy, and obtained him per- 
mission to travel in the suite of the envoy whom 
the new Duke Henry II. was just sending to the 
Papal Court. As there exists an early engraving 
of Callot’s of a portrait of Duke Charles painted 
in 1607, it is probable that the boy’s skill was 
known at Court, and that, in making the above con- 


being accidentally discovered there by some Nancy | cession, his father yielded to the representation of 


233 


nee 
persons of note. The embassy quitted Nancy late 


in the year 1608, Callot being then but sixteen 
years old, 


Arrived at Rome, he studied probably for atime 


under Tempesta, the master of Henriet Israel and of 
Claude Deruet, and then under Giulio Parigi; but 
as his preference for etching and engraving became 
more decided, he placed himself under the tuition 
of Philippe Thomassin. He went again to Flo- 
rence in 1611, in the time of the Grand-Duke 
Cosmo II., renewed his intimacy with Canta- 
Gallina, engraved several subjects after Andrea 
del Sarto, Perino del Vaga, and others, and more 
especially brought himself into the notice of his 
future patron, the duke there, by a series of small 
etchings from his own designs. On the death of 
the duke he found a protector in Prince Charles 
of Lorraine, who persuaded him to return to 
Nancy, having assured him of a position in the 
service of Henry, the then reigning Duke of Lor- 
raine. He quitted Italy in 1621 or 1622, and 
settling again in his native town, he developed 
extraordinary activity, and gradually gained for 
himself an almost world-wide reputation. It was 
owing to the great esteem in which his talents 
were held that he was summoned by the Infanta 
Clara Eugenia to Brussels to design and engrave 
the ‘Siege of Breda,’ and was engaged subsequently 
by the French monarch, Louis XIII., to execute in 
the same manner ‘The Siege of La Rochelle,’ and 
of ‘ The Siege of the Isle of Ré.’ His views of the 
Louvre and of the Pont Neuf were taken while he 
was at Paris engaged upon these works in the year 
1629, and there also he had the satisfaction of re- 
newing his old intimacy with Henriet Israel. 

He returned to Nancy after no long residence in 
the capital, and was witness to the siege and 
capitulation of his native town in 1633. The French 
monarch called on him to use his skill in drawing 
and engraving a plate commemorative of the 
occurrence, as he had done in the case of the other 
French victories; but Callot desired to be per- 
mitted to decline what he considered as celebrat- 
ing the humiliation of his country. Some of the 
courtiers, anxious for the possession of such a 
souvenir, are said to have observed to the artist 
that there were means of making him comply, to 
which he replied with much spirit that he would 
sooner cut off his right hand than employ it in 
such a work; a speech which, being reported to 
the king, led him to say that the Dukes of Lorraine 
were fortunate in the possession of such subjects. 

It is said that Callot had determined, in conse- 
quence of the annexation of Nancy to France, to 
retire to Florence, but that he died before carrying 
his plan into execution. His death occurred at 
Nancy on the 24th of March, 1635, at the com- 
paratively early age of 43. 

There exists a good portrait of Callot, taken by 
Van Dyck on the occasion of his visiting Brussels, 
and of this there is a fine engraving by Vorster- 
man. Several collections possess paintings which 
have been supposed to have been produced by 
Callot’s hand, but more recent investigation leads 
to the conclusion that they are in all probability 
wrongly attributed, and that he did not execute 
any finished work of that nature. There are sixty- 
two drawings by him in the Louvre. 

His engravings exhibit great fertility of inven- 
tion and extraordinary variety of style. It is a 
remarkable fact that many artists who followed 
him, and who far surpassed him in the technical use 

234 


A BIOGRAPHICAL DICTIO 


at AS i 


of the graver, are comparatively lit 
reputation being completely dimme 1e 
of that of Callot, in consequence of the absence 
their case of his extraordinary powers of imag 
ation. Those of his engravings in which he 
confined himself to figures of a small size are. 
most highly esteemed, as when he attempted 
produce figures on a larger scale they were apt to. 
be somewhat heavy, so that the result was less” 
characteristic of his charming power of combining 
a touch of humour with a photographic grasp of 
the details of a scene. His etchings are greatly 
admired. It is true they are seldom brilliant in — 
respect of the arrangement of the lights, but the — 
pose of his figures is highly pleasing, and the 
work shows a certainty of stroke and a lightness _ 
of touch characteristic of a master hand. They 
are principally done with hard varnish (vernis de — 
luthiers), a method of his own invention. In 
proof of his diligence we are told by M. de Wate- 
let that there existed four different drawings for 
his celebrated plate of ‘The Temptation of St. 
Anthony.’ The number of his plates is prodigious, 
being over 1400. A full account of them is to be 
found in M. Meaume’s ‘ Recherches sur la vie et les 
ouvrages de Jacques Callot,’ published 1860, There 
is a portrait of Callot in the Uffizi at Florence, — 
Thefollowing are his principal plates ; some 
of which are marked with the letters A. J. C., ¢ 
others with the accompanying monogram ; 


Cosmo III., Grand Duke of Tuscany ; oval. 

Francis, Grand Duke of Tuscany ; oval; scarce. 

Charles III., Duke of Lorraine ; scarce. 

The Marquis de Marignan, General of Charles V.; 
scarce. 

Donato dell’ Antella, a Florentine Senator ; scarce. 

Claude Deruet, painter, and his Son. 1632. 

Giovanni Domenico Peri, known as ‘ Le Jardinier.’ 

The Murder of the Innocents, engraved at Florence; ; 
scarce. a 

The same subject, engraved at Nancy, with variations. 

The Annunciation, with the words Ecce Ancilia Domini 
coming from the mouth of the Virgin; after Matteo 
Rosselli ; very scarce. 

Christ bearing His Cross; small oval; engraved on 
silver. 

The Crucifixion, with the Virgin, St. John, and Magda- 
lene; scarce. 

The Entombment of Christ; after Ventura Salimbent. 

The Virgin and Infant, with St. Elisabeth and St. John ; 
after Andrea del Sarto. 

The Holy Family, with St. Joseph giving drink to the 
Infant Jesus. 

The Little Assumption, called the Assumption with 
Cherubim. 

Another Assumption ; oval. 

The Triumph of the Virgin; dedicated to the Duke of 
Lorraine. ; 

St. John in the Isle of Patmos. ; 

The Temptation of St. Anthony; dated 1635. " 

Another Temptation of St. Anthony, with a River in the 
middle, and on the right some Devils drinking ; very 
scarce, 

The Martyrdom of St. Sebastian ; a grand composition. 

St. Mansuetus restoring to life the Son of King Leucorus. 

St. Nicholas preaching in a Wood. 

Jupiter hurling thunderbolts at the Giants; scarce. 

Pandora, with the Assembly of the Gods. 

The Card-players. 

The Punishments. The best impressions of this fine 
print have a small square tower above the houses on 
the left, and a little image of the Virgin in an angle 
of the wall in the middle of the print. 

A Woman seated with a Child in her Arms, and another 
eating Fruit under a Tree; very scarce. 

A View of the Louvre, with the Tour de Nesle. 

A View of the Pont Neuf at Paris; the companion. 


- —- 
a 


! 
i 
i 


os 


aa. 
* ia 


. 


arterre of Nancy, with figures walking. 
arden of Nancy ; very scarce. 

_ the Great Fair of Florence, engraved at Florence, 1620; 
- fine impressions of this print are very scarce ; in two 
_ __ sheets. 

_ The same subject, engraved at Nancy, called the Fair 
___ of Nancy; inscribed Fe Fiorentie et exe. Nancei. 


lege of the Isle of Ré; in sixteen sheets. 

he Siege of Rochelle; similar. 

The Siege of Breda; in eight sheets. 

The Tilting, or the New Street at Nanoy. 

: tie of the Virgin; in fourteen plates, with the 
B 

‘The Life of the Virgin ; in twenty-seven plates. 

, eg plates of devout subjects; Gloriosissime Virginis, 


_ Eleven of the New Testament, with a title by A. Bosse ; 
___ twelve plates. 

Eleven of the Prodigal Son. 1635. 

Seven, the Great Passion of Jesus Christ. 


_ Twelve, the Little Passion; the first impressions are 


very scarce. ° 
The Acts of the Apostles; in twenty-nine plates, exe- 
cuted with the graver in his early time. 


Six of the Penitents, including the title by 4. Bosse. 


Sixteen of Christ, the Virgin, the Apostles, &c. 1631. 


_ Sixteen of the Martyrdom of the Apostles, &c. 


Four, called the Little Banquets. 


miracoli, &c. 

Seven of the Seven Mortal Sins. 

_ Eighteen of the Miseries of War; dated 1633. 

Seven of the Little Miseries of War; the title by -A. 

Bosse; eight plates. 1636. 

Fourteen of Military Exercises. 

Fourteen of Fantasies; dated 1635. 

The Oaprices, engraved at Florence. 

Varie figure di Iacopo Callot; in seventeen plates. 

Balli di Sfessania ; in twenty-four plates. 

(cg eae of Beggars; entitled Capitano de Baroni; 
ne 


Twelve of Ladies and Gentlemen in the Dresses of the 
ode. 


CALLOW, Joun, an English water-colour land- 
scape painter, was born in 1822. He was an asso- 
ciate of the Water-Colour Society, and died at 
Lewisham in 1878, 

CALOMATO, BarToLomMeo, was a painter of the 
Venetian school who flourished in the 17th century. 
He was remarkable for his small pictures repre- 
senting scenes from town and country life, enlivened 
with figures well composed and graceful in ex- 

ression. 

CALTHROP, Craupe, was a brother of the 
celebrated actor, John Clayton, and a pupil of 
John Sparkes, and of the Royal Academy where he 
gained the Gold Medal for historical work. He 
completed his art education in Paris, and always 
painted pictures of a dramatic or anecdotal tend- 
ency, which interested the public. He died sud- 
denly at the beginning of the year 1893, aged 48, 

CALVAERT, Dionysius, also called Dzontsto 
FIAMMINGO, who may be considered to have been a 
Bolognese rather than a Fleming, was an eminent 
painter who was born at Antwerp about 1540. His 


' name was originally written Caluwaert, and is so 


entered in the Antwerp ‘Liggeren’ for 1556-57, 
He had made some proficiency in the art in his 
own country under Christiaen van Queecborne, 
when he visited Italy, and came to Bologna 
possessed of some talent as a landscape painter. 
To perfect himself in the study of figure draw- 
ing, he first frequented the school of Prospero 
Fontana in 1570, and afterwards became a disciple 


PAINTERS AND ENGRAVERS. 


Forty-one of the Miracles; entitled Scelta d’ aleuni | 


of Lorenzo Sabbatini, to whom he was of no in- 
considerable utility in his works in the Vatican, 
On leaving Sabbatini he occupied some time in 
studying the works of Raphael at Rome, and 
returned to Bologna about 1574, and there estab- 
lished that celebrated school where Albani, Domeni- 
chino, and Guido received their first instruction 
in art,and from which they subsequently passed 
into that of the Carracci. An excellent colourist, 
intelligent in perspective, and a correct and grace- 
ful designer, he was regarded at Bologna as the 
restorer of their school, which had at that period 
fallen into some degree of decadence. There is 
something of mannerism in his style, and a certain 
air in the movement of his figures that is strained 
and awkward. He was an excellent instructor 
of the youth of his time, and attended to the 
studies of his pupils with the greatest diligence. 
He also produced a considerable number of small 


paintings of sacred subjects on copper for the use 


of monks and nuns in their cells. Many of his 
most important works have been engraved. He 
died at Bologna in 1619, and was buried in the 
church of the Servites in that city. Most of the 
churches of Bologna possess paintings by this 
artist; there are also: ~» 

Bologna, Gallery, Madonna and Child, with St. 
Anthony; Christ appearing to the Magdalen; The 
Flagellation. Florence, Pztte Palace, St. Jerome; 
Ufizi, Assumption of the Virgin. 

CALVERT, Cuartzs, a landscape painter, was 
born in 1785 at Glossop Hall, in Derbyshire, of 
which estate his father was at that time agent for 
the Duke of Norfolk. He began life as a cotton- 
merchant, but soon relinquished that occupation for 
the fine arts. His time was much taken up in 
teaching; but he passed his leisure hours among 
the lakes, painting both in oil and water-colour. 
He was instrumental in founding the Royal Man- 
chester Institution, and obtained there the Hey- 
wood gold medal for the best oil picture painted by 
an artist residing within forty miles of Manchester, 
and also the silver medal for water-colour draw- 
ings. He died at Bowness in Westmoreland, in 
1852. 

CALVERT, Epwarp, painter and draughtsman, 
was born in Cornwall about 1803. His father was 
a naval officer, and he himself served for a time as 
a midshipman, He studied painting under a west- 
country artist named Johns, married at an early 
age, and, coming to London, entered the Royal 
Academy schools. He began work in the capital 
as an illustrated draughtsman upon wood. His 
diffidence led him to constantly destroy his blocks 
and plates, so that impressions from them are very 
scarce. His admiration for Greek art led him to 
visit Greece, whence he brought back many studies. 
A worshipper of Blake, whose acquaintance he had 
made in his youth, he became the intimate friend of 
John Linnell, and of his son-in-law, Samuel Palmer. 
He died on the 14th of July, 1883. Among his prints 
the most remarkable are perhaps the ‘ Christian 
ploughing the Last Furrow of Life,’ and the ‘ Cider 
Press,’ both strongly reminiscent of Blake. 

CALVERT, FREpERICcK, is known as a contributor 
to the ‘Archeological Journal,’ in which he illus- 
trated the tumuli in the Troad, and other antiqui- 
ties. In 1830 he published ‘ Picturesque Views in 
Staffordshire and Shropshire,’ with thirty-nine 
plates. Three water-colour drawings by him are 
in the South Kensington Museum. rs 

2 


ce kes 


CALVET, Esprit CLaupE Frangois, a French 
physician, antiquary, and amateur painter, was born 
at Avignon in 1728. He founded the Museum 
Calvet at Avignon, and died in that city in 1810. 

CALVI, Giutio, called In CoronaTo, was born at. 
Cremona about the year 1570. He was a scholar 
of Giovanni Battista Trotti, and according to Zaist, 
in his ‘Notizie istoriche de’ Pittori Cremonesi,’ 
painted so much in the manner of his master, that 
his pictures might have been confounded with the 
inferior works of Trotti, had he not signed them 
with his name. Paintings by him can be seen at 
Cremona and at Soncino. He died young in 1596. 

CALVI, Lazzaro and PanTaLEonE. These two 
painters were the sons of Agostino Calvi, a Genoese 
painter of no great note, but who was one of the 
first to abandon the old habit of painting on a gold 
ground, and work on a basis of oil colours. Laz- 
zaro was born in 1502, and together with his brother 
Pantaleone, after receiving some instruction from 
their father, entered the school of Perino del Vaga. 
Although Pantaleone was the elder brother, he con- 
tented himself with unobtrusively contributing to 
the celebrity of Lazzaro, by an exercise of his 
powers in the ornamental accessories, which formed 
no inconsiderable part of the attraction of the works 
which they executed at Genoa and the different 
cities of the republic, as well as at Monaco and 
Naples. Lanzi considers as their principal work 
the fagade of the Palazzo Doria (now Palazzo 
Spinola), where are represented prisoners, and other 
figures, in various attitudes, designed in so grand 
a style, and executed with such fine taste, that it is 
in itself a school for the study of drawing. This 
work of the Calvi is mentioned by Lomazzo in 
terms of the highest praise in his ‘ Trattato della Pit- 
tura.’ Their picture of ‘The Continence of Scipio,’ 
in the Palazzo Pallavicini, exhibits an acquaintance 
with the nude which Mengs considered worthy of 
their master Perino del Vaga, by whom Lanzi sus- 
pects they may have been assisted in some of 
their best works, as he is known to have very 
liberally accommodated them with his drawings 
and cartoons. The jealousy or ambition of Laz- 
zaro, irritated by the success of some of his con- 
temporaries, prompted him to the commission of 
the most horrid crimes. He occasioned the death 
of Giacomo Bargone, a most promising artist, by 
poison; and he hired persons to vilify the works 
of the ablest painters of the time, and to extol his 
own. It was in the midst of these cabals and 
atrocities that he was engaged, together with 
Andrea Semini and Luca Cambiaso, to paint, in the 
chapel of the Nobili Centurioni, ‘The Birth and Life 
of St. John the Baptist ;’ and although, in this com- 
petition, he exerted his utmost powers, and pro- 
duced one of his finest works, the preference was 
given to the performance of Cambiaso, whom Prince 
Doria accordingly commissioned to execute the 
frescoes in the church of San Matteo. Lazzaro 
was so mortified at this that he determined to 
abandon the art, and he actually became a mariner, 
and withdrew himself from -painting for twenty 
years. He returned, however, to his profession, 
which he continued till he was in his 85th year. 
His last works were for the church of Santa Catta- 
rina, and it is not surprising that, at so advanced a 
period of life, they were weak, languid, and senile. 
ee Parte in 1587: his brother Pantaleone died in 
1595. 

CALZA, ANTONIO, was a painter of battle-scenes 
who was born at Verona in 1653. He studied at 

236 


See ewe AS Sah ae 
A BIOGRAPHICAL DICTIONARY OF 


emery iy) 


Bayes) 
Bologna under Carlo Cignani, but 
ing him to paint horses and other animals, an 
met with some of the works of Borgognon 
resolved to visit Rome for the purpose of stud 
under that master, by whose instruction he 
greatly assisted. He returned to Bologna, w 
he painted battle-pieces and landscapes with gr E 
success, and had a number of scholarsandimitators, 
his pictures being much in vogue. He died a 
Bologna in 1714, or, according to Zani, in 1725. 

CALZETTA, Pierro, an Italian painter, was 
the son-in-law of Montagnana, and a disciple of 
Squarcione. He was engaged at the Santo of 
Padua in 1466 to paint the chapel of Corpus — 
Christi. In 1470 he restored some works of Ste- 
fano of Ferrara in the Santo, and in the same 
year he contracted to work with Montagnana and 
Matteo del Pozzo at the decorations of the Cappella — 
Gattamelata in Padua. Up to 1500 he was still 
employed at the Santo. There is an‘ Ecce Homo’ — 
by him in one of the chapels of that church. No 
dates can be given as to his birth or death. 

CALZOLARETTO, In. See CAPELyini. | 

CAM, F. van DER. See VAN DER CAM. 

CAMACHO, PEpRo, was a Spanish painter who, 
towards the end of the 17th century, executed 
with one Mufioz some well-coloured pictures from 
the life of San Pedro Nolasco for the cloister of 
the convent of Mercy at Lorca. To him, likewise, 
were attributed some pictures of our Lord’s Pas- 
sion in that convent, and of the Four Great Doctors 
of the Church in the collegiate church of that city. 

CAMARON y BONONAT, Jost, who was born — 
at Segorbe, in 1730, became director of the Academy 
of St. Charles at Valencia, in which city he died in 
1803. A ‘Mater Dolorosa,’ by him, is in the Madrid 
Gallery. 

CAMASSEI, ANDREA, was a painter and etcher, 
who was born at Bevagnain 1601. He first studied 
under Domenichino at Rome, but afterwards fol- 
lowed the school of Andrea Sacchi. He painted 
both in oil and fresco, and his powers as an his-- 
torical painter can be seen in many of the public 
edifices of Rome. His productions are distinguished 
by a very careful study of nature, and by tender 
and graceful colouring. Several of his pictures 
have been engraved by Bloemart. His etchings 
are now very rare, not more than one or two being 
known, and are marked A. C. scolp. He died at 
Rome in 1648. Of his works may be mentioned : 


Madrid. Gallery. Obsequies of a Roman 


Emperor. 
Battle of Constantine 
with Maxentius. 
»  LBaptistery of the Lateran. Triumph of Constantine. 
» La Rotunda. Assumption of the Vir- 


gin. 
A Pieta. 

CAMBIASO, GiovaNNI, was an artist born near 
Genoa in 1495, who formed his style from the 
study of the works of Perino del Vaga and 
Pordenone in the Palazzo Doria at Genoa. He 
devoted much time to the study of anatomy, and 
is said to have been the author of the method 
adopted in designing whereby the human body is 
divided into small squares in order to give the cor- 
rect proportions in foreshortening. He is thought 
to have lived to an advanced age, but the date of 
his death is uncertain, 

CAMBIASO, Luca, known as LUCHETTO DA 
GENOVA and as LUCHINO, the son of Giovanni Cam- 
biaso, was born at Moneglia near Genoa in 1527. 


Rome. Palazzo Rondanint. 


» Capuchin Church. 


4 a - # 
a ares a, - 
osetia hee hs 


d his first instructions in art from his 
orn with the genius of a painter, he soon 
ped his instructor; and when he was fifteen, 
ed works that had the appearance of matur- 
ity, and sufficiently indicated that he would prove 
one of the most distinguished painters of his 
country. It was to his friend Castelli, in conjunc- 
tion with whom he painted many large works, that 
he was indebted for the correction of his early 
_ faults of style, and for most valuable instruction 

in colouring and perspective. It was the advice 
also of the same good friend that led him to a 
closer study of nature, and that greatly improved 
his taste. He visited Florence and Rome, where 
he increased his natural conception of grandeur 
_. by contemplating the works of Michelangelo and 
_ Raphael. In his first performances he appears to 
ave been led away by the ardour and vivacity of 
his genius, and his early works have something of 
the extravagant and gigantesque. It was usual 
for him to paint, both in oil and in fresco, without 
having prepared either drawing or cartoon; he is 
also said to have painted with great rapidity, and 
often with both hands at once. In his better time 
he checked this impetuosity, and it was in the 
middle of his life that he produced his most 
esteemed works, which for transparency of colour- 
ing and for gracefulness of pose have been con- 
sidered far superior to those of his contemporaries. 
_ His picture of ‘The Martyrdom of St. George,’ in 

the church dedicated to that saint, is considered by 
some as his best performance, from the admirable 
expression in the head of the martyr, the breadth 
of the composition, and the judicious management 
of the chiaroscuro; but others prefer his ‘St. 
Benedict,’ and ‘St. John the Baptist,’ at Roc- 
chettini. Another of his finest efforts is the 
‘Rape of the Sabines,’ at the Palazzo Imperiale, at 
Terralba, near Genoa. Everything pleases in this 
__work: the sumptuous architecture, the beauty and 
__ spirit of the horses, the modest reluctance of the 
women, the impassioned ardour of the men, and 
the appropriateness of the minor accessories. Maz- 
zolari says this extraordinary work was executed 
in fifteen months, and thinks that it was impos- 
sible for the painter to have produced it in that 
time without assistance. It is said that Mengs, on 
seeing this picture, declared he had seen nothing 
out of Rome that approached so near to the beauty 
of the Loggie of the Vatican. 

Having the misfortune to lose his wife, and being 
unable to obtain the papal permission to marry 
her sister, Cambiaso allowed the disappointment 
to prey on his mind till he became melancholic. 
It is believed that it was with the hope of in- 
ducing the Spanish monarch to bring about his 
wish that he readily accepted in 1583 a proposal 
to go to Spain to complete some paintings left 
unfinished by his friend Castelli, who had recently 
died. There he was employed by Philip II. in 
the Escorial, where he painted a variety of works, 
and especially the ceiling of the choir, representing 
f. '¢The Assemblage of the Blessed,’ an immense com- 
rs position, which is highly applauded by Lomzzo. 
$ Cambiaso died, as commonly believed, from con- 
3 tinued disappointments, at the Escorial in 1585. 

f Besides the works previously alluded to, speci- 
2 mens of this artist’s paintings may be seen at 
Naples, and at the convent of the Augustines at 
iz Pontre Moli: 

-E Berlin. Gallery. Charity. 

Bologna. Pinacoteca, Birth of Christ 


PAINTERS AND ENGRAVERS. 


Dulwich. Gallery. Venus and Cupid. 
Florence. Uffizi. Madonna and Ohild. 

p ‘a His own Portrait. 
Hague. Gallery. Holy Family. 

Ge mad Birth of the Virgin. 
Madrid. Gallery. Holy Family. 

PA fr Sleeping Cupid. 
” a Lucretia. 

Milan. Brera, Adoration of the Shepherds. 
Munich. Pinakothek. Portrait of an Old Man. 


His drawings hold high rank in the portfolios 
of collectors. There are also some wood en- 
gravings, marked with the accompany- 
ing monogram, which are ordinarily attri- 
buted to him; but it is scarcely possible 
that he did more than furnish the design. 

CAMBIASO, Or4zio, was the son and scholar of 
Luca Cambiaso, whom he accompanied to Spain. 
After the death of his father, Philip II. continued 
to employ him, and settled on him a liberal pension. 

CAMBON, CHARLES ANTOINE, a French scene- 
painter, was born in Paris in 1802. He was a 
pupil of Ciceri, and acquired much celebrity by his 
theatrical decorations, many of which were real 
masterpieces. He died in Paris in 1875. 

CAMDEN, Sampson, was a portrait painter who 
flourished about 1540. He was the father of 
William Camden, the antiquary. 

CAMERATA, GiusEpPPE, an Italian miniature 
painter and engraver, was born at Frascati or at 
Venice in 1718. He was the son of G. Camerata, 
a painter of some reputation, and studied under 
Gregorio Lazzarini. He learnt the use of the 
graver from Giovanni Cattini, and after visiting 
Vienna in 1742, was in 1751 invited to Dresden, to 
assist in engraving the plates for the Dresden 
Gallery, and was there made principal engraver to 
the Court. He visited Italy again in later life, and 


subsequently came to Munich, where he settled for 


a time in 1763. He afterwards became professor 
in the Academy at Dresden, where he died in 1803. 
He was an engraver of some talent, but his work 
is not considered to be of a very high class. We 
have by him several plates from his own designs, 
as well as among other works the following: 


PORTRAITS. 


Marco Foscarini, Doge of Venice. 
Simone Contarini, Procurator of St. Mark. 
Sebastiano Bombelli, the painter. 


SUBJECTS FROM THE DRESDEN GALLERY. 


The Parable of the Talents ; after Domenico Fett. 

The Parable of the Lost Piece of Silver; after the same. 

The Parable of the Prodigal Son; after the same. 

David, with the Head of Goliath; after the same. 

The Infant Bacchus ; after the same. 

The Holy Family ; after Giulio Cesare Procaccint. 

St. Roch succouring the Plague-stricken ; after Camillo 
Procaccini. 

St. Roch distributing Alms; after Annibale Carracct. 

The Assumption of the Virgin; after the same. 

The Adulteress before Christ ; after B. Biscaino. 

The Chastity of Joseph; after S. Cantarini. 

The Old/ nd New Testament; after A. Vaccari. 

The Ma/ dalene ; after Pompeo Batont. ) 

A half-iength figure, with a beard ; after Dietrich. 

Another half-length, the companion; after the same. 

The Magdalene ; after Van der Werf. 


CAMERINO, GiroLamo (DI GIOVANNI) DI, is 
generally supposed to be the son of Giovanni Boc- 
cati, and is the known painter of an altar-piece at 
Santa Maria del Pozzo in Monte San Martino, near 
Fermo, that is signed and dated 1473, and repre- 
sents the ‘Madonna and Child, and four Angels, 
between SS. Thomas and Cyprian.’ oe 


- 


who assisted Turrita with the mosaics in the church 
of San Giovanni in Laterano, is known to have 
worked from 1288 to 1321. His compositions are 
in a style similar to that of Cimabue. 

CAMILO, Francisco, was, according to Palo- 
mino, the son of Domenico Camilo, a Florentine 
who had settled in Spain. He was born at Madrid 
in 1610, and was a scholar of Pedro de Las Cuevas, 
whom his widowed mother had married. He proved 
a reputable painter of history, particularly in his 
colouring, which is sweet and tender. His best 
work is ‘The Communion of St. Mary of Egypt,’ 
painted for the high altar of the church of the 
Capuchin convent at Alcala de Henares, but now 
in the Museo Nacional at Madrid, where there are 
likewise twelve other pictures by him. Nearly 
equal in merit are his ‘St. Charles Borromeo,’ in 
the church of the Minorites at Salamanca, and his 
‘Descent from the Cross,’ in San Justo at Segovia. 
But his most celebrated picture is the ‘Nuestra 
Sefiora de Belem,’ in the church of San Juan de 
Dios, at Madrid, which Palomino emphatically says 
is “ without limit in perfection.” He died at Ma- 
drid in 1671. In the palace of Buen Retiro at 
Madrid, are his portraits of the Spanish kings, 
and fourteen frescoes representing subjects taken 
from Ovid’s ‘Metamorphoses.’ The Hermitage at 
St. Petersburg has an ‘ Assumption of the Virgin’ 
by him. Francisco Ignacio was the best of his 
many pupils. 


CAMINADE, ALEXANDRE FRANCOIS, a painter of | 


historical subjects and portraits, as well as a litho- 
grapher, was born in Paris in 1783. He studied 
in the schools of David and Mérimée, and visited 
Rome. His works did not show any great power, 
but their pleasing colouring and correctness of 
drawing caused them to meet with a ready recep- 
tion. There are many examples of his work at 
Bordeaux, and at Versailles, where he died in 1862. 

CAMLIGUE, —, a French engraver, unnoticed 
by Basan, flourished towards the close of the 18th 
century. He engraved the plate of ‘Le Pari 
gagné’ in Rétif de la Bretonne’s ‘Monument du 
Costume,’ published in 1789, as well as some of 
the plates in the smaller edition of the same work. 

CAMMAS, Lampert Francois THERESE, a 
French painter, architect, and engineer, was born 
at Toulouse in 1743. He was instructed in the 


rudiments of art by his father, Guillaume Cammas, 


an architect of repute, who designed the facade of 
the Hétel-de-Ville at Toulouse. He afterwards 
went to Rome, where in 1770 he became professor 
at the Academy of St. Luke. On his return to 
France he protested against the bad taste which 
had disfigured the majestic outlines of the noblest 
churches with mean and ridiculous ornaments, and 
made numerous designs for the restoration of al- 
most all the religious edifices of the city of Tou- 
louse. Cammas died in that city in 1804. His 
picture representing ‘Louis XVI. recalling the 
Parliaments exiled during the reign of Louis XV.’ 
is in the Museum of his native city. 
CAMPAGNOLA, Domenico, was born at Padua 
about 1482, and worked there in the earlier half of 
of the 16th century. Brought up in the school of 
Titian, Domenico soon attained a proficiency that 
even roused the jealousy of his master. At Padua 
his fresco paintings in the Scuola del Santo lose 
little of their merit by a comparison with the 
works of his admirable instructor, and in his oil 
pictures in the Scuola del Carmine he sustains the 
238 


CAMERINO, Sears ‘DA, a Franeisean monk, a rose with him even mor. 


partments of the ceiling, in 
sented the Evangelists and other Sai 
(says Lanzi) to have aspired to a gran 
Titian, and to have drawn the nude figure witl 
more daring and unrestrained outline. A: \d 
and Eve’ by him is in the Pitti Palace, Fl 
Ridolfi speaks highly of his merit as a paint 
landscapes, which he says are in the fine sty 
Titian, and little inferior to those of that mas 
A large number of them have been engraved 
Corneille. aa 

Domenico Campagnola holds an eminent rank 
an engraver, and his etchings are executed in 
style that shows the hand of amaster. _ The follow: 
ing is a list of prints by him, but it is curious that 
by far the larger part of them bear the same date, 
viz., 1517; on some is seen his name in full, on 
others it is abbreviated thus: “DO. ‘DO. 

CAP, TE GAMER Sts 

Christ healing the Sick Man at the Pool of Bethesda, rake 

The Resurrection of Christ. ie 

The Descent of the Holy Spirit on the day of Pentecost. y 

The Assumption of the Virgin. me 

The Madonna seated with the Infant in herarms under | 
a Tree, with St. Catharine kneeling on her left, and 
a graceful Female holding a Banner on her right. 

The Decollation of a Female Saint. 

A Youth in a standing posture, with a Reed Pipe, lean-_ 
ing against a Tree, and on the left an old Man, in 
the habit of a Warrior, with a Dog at hisfeet. 

A Combat of naked Men on Foot and on Horseback, in 
a Wood. 

St. Jerome seated naked at the entrance of a hut, with: 
the Lion at his feet. 

Twelve Children dancing. The design of this piece is. 
attributed by Passavant to Titzan. 

There also exist a few woodcuts which bear the 

name of Domenico Campagnola, 

CAMPAGNOLA, GIvL1I0, a painter and engraver, 
was born at Padua in 1481. He excelled in minia- 
ture, and also painted pictures in oil that ap- 
proached the modern style. We have by this 
artist a fine plate after Giovanni Bellini, repre- 
senting ‘St. John the Baptist holding a Cup.’ It — 
is deserving of remark that this print is engraved 
in a peculiar manner for the time. The back- 
ground is expressed by dots, apparently executed 
with a punch, and the outline of the frgure is put 
in with a deeply-engraved stroke, and finished 
within with dots. The execution of this plate 
affords a reasonable presumption that this style of 
engraving, known as opus mallei, which has been 
generally considered of modern date, is of some 
antiquity. Among other plates may be mentioned 
‘Ganymede,’ engraved in the manner of Marc- 
Antonio, and two others executed with extra- 
ordinary minuteness and care, viz., ‘An aged Shep- 
herd, reclining, holding a flute,’ and ‘The Astrolo- 
ger’ (1509). Another specimen, executed with the 
dry point, represents a nude female reclining on a 
bank beneath some foliage, and recalls the style 
of Giorgione. Bartsch and Passavant together 
enumerate sixteen engravings by Giulio Campag- 
nola, most of which are from the designs of the 
great masters of the Venetian school, especially 
Giovanni Bellini and Giorgione. This artist has 
been the subject of much discussion, and some 
acrimonious controversy. See Zani’s ‘Enciclopedia,’ 
part I. vol. v., Ottley’s ‘Inquiry into the Origin 
and Early History of Engraving,’ Passavant’s 
‘ Peintre-Graveur,’ v. 162—167, and Galichon’s Life 
of him published i in 1862. 

CAMPAGNOLA, J. J., is thought by Passavant 


f as 
Pee | al, 
> . 
wie 


the name of the master by whom we have 
engravings marked J. J.C'A. They represent 
| Nativity’ and ‘St. Ottilia,’ the latter, which 
is somewhat in the style of Benedetto Montagna, 
having the monogram reversed. He flourished 
_ early in the 16th eentury, and was possibly of the 
_ same family as Domenico and Giulio Campagnola ; 
_ but while they belonged to the Venetian school, his 
style is that of the school of Padua as formed by 


_ Mantegna. 
~  CAMPALASTRO, Lopovico, was a painter of 
_ Ferrara, in which city there are several of his 
_ works: in the church of San Crispino, ‘The Na- 
tivity,’ ‘ The Repose in Egypt,’ and ‘ The Adoration 
of the Magi;’ and in San Lorenzo, ‘St. Francis of 
i Assisi,” 
_ CAMPANA, Pzpro. See Dz Kempenzen, PIerTer. 
- CAMPANA, Pierro, an Italian engraver, was 
born at Soria in 1727. He learned the use of the 
_ -__ graver from Rocco Pozzi, and lived the greater 
part of his life at Rome and Venice. He died in 

1765. We have the following prints by him: 
_ St. Francis of Paola; after Seb. Conca. 

St. Peter delivered from Prison; after Mat. Preti. 

Portrait of Pietro da Cortona; from a picture in the 

Florence Gallery. 
Portrait of Bernardino Barbatelli, called Poccetti. 


-_ CAMPANA, Tommaso, was a Bolognese painter 
who flourished between 1620 and 1640. He was 
___ originally a pupil of the Carracci, but afterwards 
followed the style of Guido Reni. In the church 
of San Michele in Bosco, at Bologna, are two 
____ paintings by him representing scenes from the life 
of St. Cecilia. 
'  CAMPANELLA, Agostino, was a native of 
Florence, who flourished about the year 1770. He 
engraved several plates representing historical and 
_ Biblical subjects. They are executed with the 
graver in a neat style, but the drawing is not very 
‘correct. 

CAMPANELLA, AnaELo, born at Rome about 
the year 1748, was a painter and engraver, and 
studied art under Volpato. He engraved the 
statues of the twelve apostles which are in the 

church of St. John Lateran; and some of the 
plates for Gavin Hamilton’s ‘ Schola Italica,’ one of 
which is ‘The Presentation in the Temple,’ after 
Fra Bartolommeo. He died about the year 1815. 
Others of his engravings are: 

Christ with the Disciples at Emmaus; after Raphael. 

The Massacre of the Innocents; after the same. 

Psyche and Cupid; after the same. 


CAMPBELL, Cnartes Witiam, an English 
engraver in mezzotint, was born at Tottenham, 
July 13, 1855. In 1870 he entered the office of his 
father, an architect and surveyor, and stayed there 
until 1878. In the meanwhile he studied Ruskin 
and practised drawing so far as his means and 
leisure would allow him. Finally he was intrusted 
by Mr. Burne-Jones with his picture of the ‘ Birth 
of Galatea,’ to be scraped in mezzotint. The plate 
was published early in 1886, and was followed by 
an ‘ Ophelia,’ from his own design, and ‘ Pan and 
Psyche,’ again after Burne-Jones. All three were 
pure mezzotint, without adulteration by any other 
process. Campbell also scraped a mezzotint of 
4 Miss Ellen Terry from life, and at his premature 

& death, which occurred on May 31, 1887, left several 
| plates in various stages of completion. | 
‘a CAMPBELL, J., was probably a native of Scot- 
; land. He flourished about the year 1754, and en- 


= 


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. 


PAINTERS AND ENGRAVERS. 


graved a few plates after Rembrandt, in which he 
imitated the style of that master with considerable 
success, 

CAMPER, Perrvus, born at Leyden in 1722, was 
a celebrated professor of anatomy and surgery, and 
an amateur painter. He succeeded in copying the 
works of Carlo Lotti and other Italian masters, as 
also those of Honthorst. He took lessons from 
Karel de Moor, and produced some cabinet pictures 
in the manner of that master; but most of his 
productions have the marks of imitation rather 
than originality. He published a work very useful 
to young students in painting. He produced also 
a few etchings, and displayed a good deal of talent 
in the application of his knowledge of drawing to 
the purposes of his profession. He died at the 
Hague in 1789. 

CAMPHUYSEN, Dirk RarHae sz, who was born 
at Gorcum in 1586, is recorded as a painter of land- 
scapes with wild animals, ruins, and cottage in- 
teriors. Yet some authorities say that he never 
practised the art of painting, and that works cata- 
logued as his are by his son Govaert Camphuysen. 
Two moon-light subjects, in the style of Van der 
Neer, in the Dresden Gallery, signed R. Camp- 
HUYSEN, are given in the catalogue to Dirk 
Raphaelsz: but it is more probable that they are 
by the hand of RAPHAEL CAMPHUYSEN, a brother 
of Dirk, who was born in 1598. Dirk Camphuysen 
died at Dokkum in 1627. 

CAMPHUYSEN, GovarErt, who was born at 
Gorcum in 1624, made a citizen of Amsterdam in 
1650, and died in that city in 1674, was an animal 
painter, whose style was influenced by Paulus 
Potter. A painting in the Dulwich Gallery of 
‘Peasants with cows before a cottage,’ with a 
forged signature of PAuLus PoTTsEr, is attributed 
to Camphuysen; in the Rotterdam Museum is a 
picture of ‘Peasants before an Inn,’ signed G. 
CAMPHUIJSEN; the Brussels Gallery has an ‘In- 
terior of a Farm,’ signed with his name and dated 
1650; and a painting of ‘Peasants and Cattle 
before an Inn’ in the Cassel Gallery is also attri- 
buted to him. In the Hermitage, St. Petersburg, 
are two Interiors of Cow-sheds, both bearing his 
signature. Govaert Camphuysen’s works are 
scarce; probably some of them are known as 
paintings by Paulus Potter; and others are attri- 
buted to his father, Dirk Raphaelsz. 

CAMPI, Cavaliere AnTonio, the son of Gale- 
azzo Campi, was born prior to 1536. He was 
an architect, sculptor, painter, and engraver. He 
received his first instructions from his father, and 
then entered his brother Giulio’s workshop. He 
followed the style of Correggio, and painted several 
frescoes and pictures for the churches of Milan 
and Cremona, some of which have been engraved 
by Piccioni and Agostino Carracci. He and his 
brother Vincenzo Campi went to Spain in 1583, 
and painted for Philip II. at the Escorial. He also 
wrote a ‘History of Cremona,’ for which he en- 
graved the topographical plan. He died about 
1591. A ‘St. Jerome’ painted by him for Philip 
II. is in the Madrid Gallery, and in the Brera at 
Milan is a ‘ Madonna and Child,’ which was formerly 
in Santa Barbara in that city. 

CAMPI, BERNARDINO, was born at Cremona in 
1522, and was probably a member of the Campi 
family, whose works are often met with in the 
churches of Lombardy. He was intended for the 
profession of a goldsmith, but on seeing the copies 
of two of the tapestries designed by Raphael, ree 


C 


oa 


) ty ay » a 


had been copied by Giulio Campi, he determined to 
change his pursuit, and to study painting under his 
relative. He remained with Giulio some time, but 
afterwards went to Mantua, where he frequented 
the school of Ippolito Costa. Before he had 
reached his twentieth year he had already exhibited 
considerable pre-eminence in art. He studied the 
works of Giulio Romano, Titian, Correggio, and 

Raphael, and aimed at combining the individual ex- 

cellences of those masters in a style of his own. 

His great work in the cupola of San Sigismondo 

bears evident trace of his having greatly profited 

by his acquaintance with the works of Correggio. 

He has here represented the assemblage of the 

saints and blessed of the Old and New Testament, 

each with their appropriate symbols. This work 
is of stupendous dimensions, and though the 
figures are seven braccia in height, such is his 
judicious management of the point of view that 
they only appear to be the size of nature. He 
completed this great work in the surprisingly short 
period of seven months. Other examples of his 
work are to be seen at Milan, Pavia, and Piacenza. 

In 1584 he published a work on painting. He 

had several pupils, among whom was Sofonisba 

Anguisciola. He died at Reggio about 1592, and 

was buried in the church of San Prospero, where 

he left some unfinished frescoes. The following of 
his paintings are preserved: 

Cremona. S. Sigismondo. St. Cecilia; St. Catharine; the 
Prophets ; Children — frescoes 
(cupola of choir). 

The Nativity. 

Descent from the Cross. 

Mater Dolorosa. 


CAMPI, GALrazzo, was born at Cremona about 
1475, and died there in 1536. He appears to have 
been a pupil of Boccaccino. Paintings by him are 
to be found in the churches of San Sigismondo, San 
Sebastiano, and Sant’ Agata,in Cremona, A curi- 
ous painting dated by him 1515, and representing 
‘The Resurrection of Lazarus,’ with Christ and the 
apostles Peter and Paul on one side of the grave, 
whilst Lazarus the beggar with two dogs stands 
on the other side, and formerly in the church of 
San Lazzaro, Cremona, is now in the possession 
Canon Bignami, at Castel Maggiore. His are 
also: 

Cremona. Palazzo. Christ in Benediction. 
+ Municipio. Virgin and Child, with three 

Saints. 

His own Portrait. 


» 8%. Domenico. 
Milan. Brera. 
Paris. Lowvre. 


Florence. Gallery. 


* CAMPI, Gututio, the eldest son of Galeazzo 


Campi, was born at Cremona in 1500. In 1522 he 
was studying under Giulio Romano at Mantua as 
an architect and modeller, but he afterwards studied 
painting from the various old masters. His earliest 
work in Cremona was four large pictures repre- 
senting ‘The Martyrdom of St. Agatha,’ which 
are in the church of Sant’ Agata. He next 
painted for the high altar of the church of San 
Sigismondo, outside Cremona, a votive altar-piece, 
representing ‘The Virgin and Child, with Saints,’ 
and the figures of Count Francesco Sforza and 
Bianca Maria Visconti. This picture has been en- 
graved by Ghisi. In 1527 he painted the altar- 
piece of ‘ The Virgin and Child, with SS. Celsus and 
Nazarus,’ for the church of Sant’ Abbondio. This is 
his finest work, and is characterized by a faithful 
rendering of the colouring of the Venetian school. 
He decorated the council-chamber of Brescia with 
ane large frescoes representing ‘The Labours of 
40 


A BIOGRAPHICAL DICT 


ee ie = 
JONARY OF 


| ‘ee 
Hercules,’ which have likewise been 
Ghisi. His constant aim seems to hi 
secure a free handling in his drawing, a p 
he learnt from Giulio Romano, and to coml 
with it the feeling of Correggio and the colour 
of Titian and Pordenone. Milan, Cremona, © 
Mantua, all possess paintings by him. He die 
1572. Noticeable among his works are: aoe 
Cremona. 8. Margherita. Several altar-pieces and frescoes. 

S. Sigismondo, Descent from the Cross. = 
S. Girolamo. Thefrescoesin the Cupola. 


CAMPI, Vincenzo, the third son of Galeazzo 
Campi, was born at Cremona before 1532, and 
received instruction from his brother Giulio. He 
worked constantly in conjunction with his brothers, = _ 
and his colouring very much resembles that of 
those artists, but his design was much poorer. 
One of his best performances is considered to be _ 
‘The Descent from the Cross,’ in the cathedral 
at Cremona, but his chief merit was in painting 
portraits and still-life. In 1583 he joined his 
brother Antonio in a visit to Spain, where they 
both worked for Philip II. at the Escorial. His 
death occurred in 1591. Two pictures by him— 
one a Woman with fish, the other a Woman with 
fruit—are in the Brera at Milan. ma 

CAMPIDOGLIO, It. See Pack, MicHELANGELO. 

CAMPIGLIA, Giovanni Domenico, an Italian 
painter and engraver, was born at Lucca in 1692. 
He studied at Florence under Tommaso Redi and 
Lorenzo del Moro, and at Bologna attended the 
school of Gioseffo dal Sole. He painted some his- 
torical subjects at Florence, and several portraits, 
among which was his own, which is placed in the 
Gallery. He particularly excelled in drawing after 
the antique marbles, and was much employed at 
Rome and Florence in making drawings for the 
engravers. According to Nagler he died in 1768. 
He etched several plates after his own designs, 
and among others the following portraits of 
artists : 

Giovanni Domenico Campiglia. 

Giovanni Lorenzo Bernini. 

Giulio Romano. 

Salvator Rosa. 

Leonardo da Vinci. 

Giovanni Antonio Bazzi. 


si 


bh) 
Mantua. 


CAMPILIUS, BrrnanrpiINno, was a very inferior 
follower of Lo Spagna at Spoleto. . His name is 
written beneath a fresco of ‘ The Virgin adoring the 
Infant,’ on the Piazza San Gregorio, at Spoleto, and 
bears the date of 1502. No further information 
can be given of his birth or death. 

CAMPIN, Rosert, 1375—April 26, 1444. It is 
not known where he was born or where he learned 
his art, but he was already a free master in 1406, 
in which year he painted a picture for the widow 
of the sculptor James Braibant, He acquired the 
right of citizenship by purchase on December 29, 
1410. His wife, Elisabeth de Stochem, was seven 
years his senior. His conduct was by no means 
edifying. In 1428 he was fined 201., sentenced to 
make a pilgrimage to Saint Giles, and debarred 
from holding any civic office. In July 1432 he 
was banished from the city for a year on account 
of his dissolute life, but at the intercession of 
Jacqualine of Bavaria, Countess of Hainault, this 
was on October 26 commuted to a fine of 50s. 
Notwithstanding all this, he was constantly em- 
ployed by the municipal authorities on mural and 
decorative paintings. In 1428 he executed a 


ting in oil-colours and gold with the figures 
aint Piat, Saint Eleutherius, the King, Queen, 
Dauphin and others. In 1438 he drew 
irtoons for mural paintings, representing episodes 
in the life of Saint Peter; he was paid 8%, 
for these designs, which were executed by Henry 
_ de Beaumetiel in the chapel of Saint Peter. 
_ Campin was the master of two celebrated painters; 
Roger De la Pasture (van der Weyden) and James 
_ Daret. No painting can be attributed to him 
with certainty, but he was probably the painter of 
a panel representing the blossoming of Saint 
___ Joseph’s rod, and the marriage of the B. Virgin in 
the Prado Museum, Madrid, W.H.J. W: 
_ CAMPINO, Giovanni, was born at Camerino 
about 1590. He constitutes a remarkable, if not a 
solitary, instance of an Italian going out of his 
own country to study painting. Sandrart, however, 
-_ assures us that he went to Antwerp, and placed 
himself under Abraham Janssens, with whom he 
remained some years, then returned to Italy and 
studied the works of Caravaggio, whose style of 


instructor. He painted some pictures at Rome 
__-with sufficient success to procure him an invitation 
to the Spanish Court, where he was employed by 
the king. He died there in 1650. 

CAMPION, Cuartes MIcHEL, a French amateur 
by whom we have several plates, was born at Mar- 
seilles in 1734, and died there in 1784. Some of 
his plates are executed with the graver, and some 
are etched; amongst them are the following: 


_ Aignan Thomas Desfriches ; after Cochin. 
Francois de Regny ; after the same. 
Cardinal Commandon ; C. C. 

M. de St. Amand; after Mile. Lotr. 
Madame de Guillonville. 

The Four Seasons ; after Desfriches. 

Views of the Harbour and Town of Antibes. 
View of Meung-sur-Loire. 

Views on the banks of the Loire. 

Views on the banks of the Loiret. 


CAMPION, Cuaries Puttirrz, Abbé de TERsan, 
brother of Charles Michel Campion, was born at 
- Marseilles in 1736. He engraved several portraits 
of no great merit, and formed a large collection 
of books, prints, medals, and antiquities, which 
were sold after his death, which occurred at Paris 
in 1819. Among his engravings may be mentioned 
two portraits of Montesquieu, and those of N. de 
Verri, Sauveur-Morand, Alexis Clairaut, the mathe- 
nratician, and the Cardinal Prince Louis de Rohan. 

CAMPION, Gerorce B., a water-colour land- 
scape painter, was one of the earliest members of 
the Institute of Water-Colour Painters, having 
been elected in 1837, and was a frequent con- 
tributor to the exhibitions of that society. ‘Olden 
Times’ and ‘Gathering Orach,’ both exhibited 
at the Institute in 1869, are fair specimens of his 
art. He was for some time drawing-master at 
the Military Academy, Woolwich; but afterwards 
retired to Munich, where he died in 1870, at the 
age of 74. He was the author of ‘The Adven- 
tures of a Chamois Hunter,’ and he also wrote 
some notes on German art for the ‘ Art Journal.’ 

CAMPIONE, Istporo pa. See BIANCHI. 

CAMPO, JuAN, a Spanish painter, was born of 
humble parentage at Ita in 1530. After enduring 
great privation he journeyed to Toledo, and solicited 
permission to enter the studio of Francisco de 
Comontes, where he made good progress. One day 
Don Geronimo de Corella, who had been appointed 

R 


EE Sere ee PTY PO eee ore 


painting greatly resembled that of his Flemish | 


Gores | ; PAINTERS AND ENGRAVERS. 


Bishop of Comayagua in Central America, visited 
the studio of Comontes, and in the master’s absence 
was received by the pupil, who confidentially told 
the prelate that on account of his debts he should be 
obliged to leave the country or go to prison. The 
bishop thereupon offered to take the painter with 
him to America to decorate the churches, only upon 
the condition that he should, when able, pay his 
debts. Campo left Spain in 1557, and appears to 
have painted a considerable number of works, 
which have been highly praised by travellers, but 
are totally unknown in Europe. In less than 
twenty years he had paid all his creditors and 
acquired a small fortune, with which he was about 
to return to his native country, when he was 
attacked by sudden illness, from which he died. 
His early works, which may be seen in Spain, are 
imaginative in design, but weak in colour. 

CAMPOLARGO, PEDRO DE, was a Spanish painter 
of some repute in Seville in 1660, whose engrav- 
ings are held in higher estimation than are his 
paintings. 

CAMPOLO, Pracipo, according to Hackert, in 
his ‘Memorie de’ Pittori Messinesi,’ was born at 
Messina in 1693. He studied at Rome under 
Sebastiano Conca, where he was more indebted for 
his advancement to his designs from the antique 
marbles, and his contemplation of the works of 
Raphael, than to the precepts of his instructor. 
On his return to Sicily he distinguished himself as 
a historical painter, particularly in fresco. One 
of his principal works is the ceiling of the Galleria 
del Senato. at Messina, which is admired for the 
ingenuity of the composition and the correctness 
of the design. He died of the plague in the fatal 
year 1743. 

CAMPROBIN, PEpko DE, was a Spanish painter 
of animals, fruit, and flowers, who flourished at 
Seville about 1660. His flower-pieces are to be 
seen in several churchesin Andalusia; those which 
he considered his best are signed Pedro de Camp- 
robin Pasano fecit. 

CAMRADT, Joan Lupvie, who was born at 
Copenhagen in 1779, and died at Hilleréd in 1849, 
painted flower-pieces. 

CAMUCCINI, Vincenzo, a historical painter, 
was born at Rome in 1773. He received his first 
instruction from his brother Pietro, who was a re- 
storer of pictures, and also from Borubelli, an 
engraver of moderate ability; but he afterwards 
became a pupil of Corvi, and for some years devoted 
himself to the study of Andrea del Sarto, Raphael, 
Domenichino, and other great masters. When 
twenty-four years of age he produced his great 
picture of ‘The Death of Cesar,’ which was much 
admired. Soon afterwards, the arsival at Rome 
of the great French artist David excited Camuc- 
cini’s emulation, and he undertook to produce a 
series of pictures on subjects taken from the 
history of ancient Rome, and painted in the 
classic manner. Among these were: 

Horatius Cocles. 

The Departure of Regulus for Carthage. 

The Continence of Scipio (in the Palazzo Reale, a 


The Death of Virginia. ” ” ” ” 
The Death of Ceesar. oe ” » » de 


He also painted : 
The Incredulity of St. Thomas (in mosaic, in St, Peter's, 
at Rome). ; ’ 
The Presentation in the Temple (in San Grovannt, at 
Piacenza; esteemed one of his finest works). 
The Death of the Magdalen. ; 
The Entombment (painted for Charles IV. of eh 


A BIOGRAPHICAL DICTIONARY OF 2 =—™ 


The Apparition of Christ in Limbo (painted in 1829 for 
the Association of the Patriotic Friends of Art of 
Prague). : 

Mission oP the Benedictine Monks to England. 1833. 

The Conversion of St. Paul (@ colossal picture executea 
in 1834 for the Basilica of San Paolo fuort le Mura 
at Rome). 


These serious subjects he diversified with a 
‘Betrothal of Psyche,’ and, jointly with Landi, 
he painted, in fresco, the ceiling of the Torlonia 
Palace. As regards composition and design, 
Camuccini in these works is considered by his 
fellow-countrymen to have been entitled to stand 
in comparison with the great masters of painting 
of the later period of the Revival; but in colouring 
he is admitted to have been very deficient. As a 
portrait painter he attained considerable eminence ; 
amongst the best he produced are those of 

Pope Pius VII. (now in the Gallery at Vienna). 

The Duke de Blacas, Ambassador from France at Rome. 

The King of Naples, and the Queen of Naples. 

The Countess Schouvaloff, and the Countess von Die- 

trichstein. 1829. 


Several of his works have been engraved by 
Bettelini, and some have been lithographed by 
Scudellari, and published under the title of ‘I Fasti 
principali della Vita di Gest Cristo,’ with text in 
Italian and French, at Rome, in 1829. Camuccini 
was appointed inspector-general of the Museums 
of the Pope, and of the Factory of Mosaics, and 
director of the Neapolitan Academy of Rome. He 
was a member of the Institute of France, and 
during some years president of the Academy of 
St. Luke. Pope Pius VII. conferred upon him 
the title of Baron, with hereditary succession, and 
the Emperor Francis I. the order of the Iron 
Crown. He died at Rome in 1844. But it was 
not merely as an artist that Camuccini was distin- 
guished. Recognized as a man of superior taste, 
and having amassed a considerable property, he 
expended no small portion of his wealth in the 
purchase of a fine collection of pictures and other 
objects of art. On this collection coming to be 
sold, in 1856, the greater portion of the pictures, 
upwards of seventy in number, were purchased by 
the Duke of Northumberland, who removed them 
to Alnwick Castle. They consist principally of 
the works of the Italian masters living in the 
16th and 17th centuries, with some specimens of 
an earlier date, and a few others of the Dutch 
and Flemish painters of the 17th century. One 
by Raphael, known as ‘The Madonna with the 
Pink, is the most noted of them. 

CAMULIO, Bartrotommeo pi, flourished at 
Genoa in the middle of the 14th century. A 
Madonna painted by him, in the year 1340, is in 
the Palermo Gallery. 

CAMUS. See Duvat LE Camus. 

CANAL, ANTONIO, commonly called CANALETTO, 
was born at Venice in 1697. He was the pupil of 
his father, Bernardo Canal, who was a decorator and 
scene painter. Antonio first confined his atten- 
tion to theatrical decorations, but in 1719 went 
to Rome, where he spent some time in drawing 
and copying the antiquities of that city and its 
vicinity. Returning to his birthplace, he exclus- 
ively occupied himself in producing views of 
Venice, which for their great truth to nature, and 
for their extraordinary effect, perspective, and 
colour, met with an immense success, and are still 
most highly esteemed. The figures in his views 
are almost all painted by Giovanni Battista Tie- 
polo. In 1746 Canaletto visited London, and re- 

242 


mained two years, during which time he paietea 
many of its most striking views. It is com- 
monly thought that he was the first artist who 


used the camera lucida for his pictures. The prin- — 
cipal public and private galleries of Europe possess — 
examples by this master; but his works must not 
be confounded with those of his nephew, Bernardo — 


Bellotto, who is also called Canaletto. His finest 
works are at Berlin, Dresden, London, Munich, 
Paris, and Vienna. Many of Antonio’s paintings 


have been engraved by Vicentino, and he himself 


has etched thirty-one plates of ‘ Views in Venice.’ 


His death occurred in that city in 1768. The — 
following are his principal works: 
Bergamo. Ac. Carrara. A View of Venice. 
Berlin. Gallery. View of Santa Maria della Salute, 
Venice. 
> 44 View of the Doge’s Palace, 


Venice. ; 
View of the Dogana, Venice. 
Venetian Scene. 
Views in Venice (siz). 
The Ducal Palace, Venice. 
The Rialto, Venice. 
Venetian Scenes. 
The Colosseum at Rome. _ 
View of Northumberland House. 


Darmstadt. Gallery. 
Dresden. Gallery. 
Florence. Uffizi. 


Frankfort. Stdde? Coll. 
Hampton Ct. Palace. 
Isleworth. Syon House. 


London. Nat. Gall. View in Venice. 
ae re The Grand Canal, Venice. 
pA » The Scuola di San Rocco (with 
Jigures by Tiepolo). 
% 4 Regatta on the Grand Canal. 
ie > The Piazzetta of St.Mark, Venice, 
from the Quay. 
London. Nat. Gall. Ducal Palace and Column of St. 
Mark, Venice. 
* 5 Eton College. 1746. 
a . On the Canal Reggio, Venice. 
Z 3 San Pietro di Castellu, Venice. 
7 Soane Mus. View on the Grand Canal, 
Venice. 
ee Montagu Ho. View of Whitehall. 
» ‘Dudley Ho. View in Venice. 


» Devonshire Ho. ‘View in Venice. 
s Wallace Gall. Twenty pictures by him and his 
nephew, the Grand Canal 
being a fine and notable work 
by Canale. 
Munich. Pinakothek. Views of Venice. 
Naples. Museum, Twelve Views of Venice. 
Paris. Louvre. View of Santa Maria della Salute, 
Venice. 
Petersburg. Hermitage. Reception of Count Gergi at 
Venice. 
The Marriage of the Doge with 
the Adriatic. 
Rome. Ac. di 8. Luca. A Scene. 


99 99 


Turin. Pinacoteca. View in Venice. 
Venice. Accademia. Portico of a Palace. 
» Museo Correr. The Grand Canal, Venice. 
Vienna. Gallery. Views of the Schottenkirche. 
- Inechten- Vi in Veni 
stein Coll. iews in Venice, 
Windsor. Castle. Two Views on the Thames. 


” 9 Views in Rome, 


CANALE, GiusEppz, an Italian designer and 
engraver, was born at Rome in 1725. He was in- 
structed in engraving by Jacob Frey, and also 
frequented the school of the Cavaliere Benefiale. 
In 1751 he was invited to Dresden to assist in 
making the drawings and engraving the plates 
of a part of the pictures in the Gallery, and was 
appointed engraver to the Court. He died in 1802. 
We have by him the following prints: 


Maria Mattia Perini; after M. Benefiale. 

Maria Antonia, Electress Dowager of Saxony; after a 
drawing by the Princess herself. 

Archbishop Bonaventura Barberini. 

Maria Josephina, Queen of Poland. 


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[National Gallery, London 


Hanfstingl photo) 


REGATTA ON THE GRAND CANAL 


_. 
> 


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1. ere 


ae a 


Xavier of Saxony. 
pulchral Monument of Cardinal Spinola. 
Philosopher ; after Spagnoletto. 
) Glory ; after Domenichino. 
iby] ; me Angelica Kauffmann, / 
_ Paris and (Enone; after Van Loo. . 

_ Adam and Eve driven from Paradise; after Albant. 
_ Christ and St. John; after Van der Werf. 
_ Christ appearing to St. Thomas; after Mat. Preti ; this 
plate was finished by Beauvarlet. 
_ ATurkish Woman; after Dietrich. 
es Spring ; after the same. 


_ CANALETTO. See BELLorro, and Canat. 
Bt: CANDERRON, BERNARDINO, was a Spaniard 
_ who, assisted by Fray Felipe and Alonso Vazquez, 
_ painted a missal enriched with miniatures in six 
volumes for the cathedral of Toledo. This work 
he executed between 1514 and 1518 by order of 
Cardinal Ximenes. It is considered the most beau- 
_ tiful work of the kind ever executed in Spain. 
_ CANDIDO, Martino pi. See under ToLMezzo. 
_ CANDIDO, Pierro, (or Pierer Canpip). See 
De Wirre. 
_ CANE, Caro, was born at Gallarate, a small 
town in the Milanese, in 1618, and was instructed 
by Melchiore Gilardini. He copied the works of 
Morazzone with success, and became a historical 
_ painter of some note, particularly in fresco. His 
_ best works are ‘St. Ambrose’ and ‘St. Hugo,’ 
painted in fresco in the Certosa at Padua. He 
_ also painted landscapes and animals, which he 
_ touched with great spirit. He died at Milan in 
1688. There was also a Carto Cang, of Trino, 
who is mentioned by Irico, in his ‘History of 
_ Trino,’ as having painted in 1600 two altar-pieces 
_ for the Benedictine abbey of Locedia. 
CANELLA, GiuseprE, who was born at Verona 
in 1788, was a painter of architectural scenes and 


e- sea-pieces ; he worked at Milan, and died at Flor. | 


ence in 1847. Amongst his best productions are: 


Views of Paris and the Boulevards. 
The Cathedral at Milan. 
The Harbour at Honfleur. 
- The Church of Santa Croce in Florence. 
New Street in Venice. 
View of a Village—moonlight (in the Brera, Milan). 


_ CANERIO, AnsELMo, was a Veronese painter 
who flourished between 1560 and 1575, and pro- 
duced a number of works in oil and in fresco at So- 
ranzo, Castelfranco, Vicenza, and Verona. He was 
a follower of Paolo Veronese. There is a frieze of, 
his to be seen in the palace of Count Murani, and 
a ‘ Pharaoh’s Daughter’ in Signor Ridolfi’s mansion: 
—both at Verona. 

CANETI, Francesco ANTONIO, an Italian minia- 
ture painter, born at Cremona in 1652, was a pupil 
of G. B. Natali. He afterwards became a Capuchin 
_ monk, and died in 1721. 

CANINI, Giovanni ANGELO, or GIANNANGIOLO, 
a historical painter, was born at Rome in 1617. 
He was first the pupil of Domenichino, and after- 
wards of Barbalonga. He was received into the 
Academy of Rome in 1650, and was eventually 
appointed Court painter to Queen Christina of 
Sweden, for whom he executed some considerable 
works. Though possessed of much talent as an 
artist, he devoted more of his time to archeology, 
and published two works on that subject. There 
is an engraving by this artist of Cardinal Mazarin, 
touched with a light hand, and showing much 
feeling and spirit. Two paintings by him repre- 
senting the martyrdoms of SS. Stephen and Bar- 

R2 


tholomew are in the church of San Martino ai 
Monti, Rome. He died in Paris in 1666. 
CANINI, J. B. L. MAES. See Mags Canint. \ 

_CANLASSI, Guipo, commonly known as In 
CaGNAccI, a surname given to him on account of 
his deformity, was a painter of the Bolognese school, 
born at Castel San Arcangelo, near Rimini, in 1601, 
He was a pupil of Guido Reni, whose style he 
imitated in a somewhat too methodical manner ; 
still his work was careful, and has something of 
his master’s delicacy. He worked ‘at Rimini and 
Bologna, but did not execute many paintings in 
Italy, as he went in early life to the Court of the 
Emperor Leopold, where he laboured with consider- 
able industry. Beauvarlet, Cunego, Magalli, and 
Prenner have engraved after his works. He died 
at Vienna in 1681. The following are among his 
extant paintings: 


Cassel. Gallery. Lucretia. 
Dresden. Gallery. The Penitent Magdalen. 
Florence. Uffizi. Jupiter and Ganymede. 
. Pitti Pal. The Assumption of the Magdalen. 
Munich. Pinakothek. The Magdalen. 
cf i Mater Dolorosa. 
Paris. Louvre. St. John the Baptist. 


Petrsbrg. Hermitage. 
Rome. S. Luca Accad. 

», Borghese Pal. 
Vienna, Gallery. 


The Assumption of the Magdalen. 
Tarquin and Lucretia. 

A Sibyl. 

Death of Cleopatra. 

A rs Madonna and Child, 

»» Liechtenstein Coll. Jacob and Laban. 


CANO, Atonso, a Spanish painter, architect, and 
sculptor, was born at Granada in 1601. He ac- 

uired the knowledge of -architecture from his 
father, Miguel Cano, and then went to Seville, 
where he learned sculpture from Juan Martinez 
Montafiez, and studied painting under Pacheco and 
Juan del Castillo. In 1630 he completed the altar- 
piece which his father had commenced at Lebrija, 
where his statue of the Virgin and Child is con- 
sidered a masterpiece. In consequence of a 
quarrel he left in 1637, and made his way to 
Madrid, where he was employed by Count Olivarez 
in the decorations of his palace; he also painted 
the monument for the Easter-Week in the church 
of St. Giles, and the triumphal arch erected at 
the solemn entry of Maria of Austria into Madrid, 
In 1643 he unsuccessfully applied for the post of 
architect to the cathedral of Toledo, but was called 
upon in 1650 to direct the works there. In that 
same year he painted for the church of Porta Coeli 
in Valencia a ‘Nativity,’ ‘Christ scourged at the 
Pillar,’ and a‘ St. John the Baptist.’ Although since 
1647 steward of the Brotherhood of Our Lady of 
Seven Dolours at Madrid, he joined a religious 
order in Granada in 1652, in order to devote him- 
self more entirely to his art. Although he had 
never visited Italy, yet his style had a noble, clas- 
sical simplicity, which he had acquired from his 
careful study of the antiques in the collection of 
Count Alcald at Seville. His sculptures manifested 
a strong resemblance by their energy and vigorous 
treatment to those of Michelangelo, and in addi- 
tion a most extraordinary grace and delicacy. As 
a painter he combined clear and brilliant colouring 
with decision in drawing and great power of ima- 
gination. He died at Granada in 1667. Nearly 
all the churches of Granada are enriched by his 
paintings, and examples may be found in many 
other churches of Spain. We may especially 
mention : 


Berlin. Gallery. St. Agnes. 


243 


PAINTERS AND ENGRAVERS, a + 


eT Te tae eee anes 
- 


A BIOGRAPHICAL DICTIONARY OF 


Dresden. Gallery. St. Paul. 
Granada. Cathedral. The Virgin in Solitude. 


Madrid. Gallery, Madonna in Adoration. 
The Scourging of Christ. 
. “ _ The Dead Christ. 
as » St. Benedict in Meditation. 
A ~ St. John the Evangelist. 
“ oS St. Jerome. 
» &. pihonns A Crucifixion. 


4 S. Gines. Christ seated and stripped. 
Malaga. Cathedral. The Virgin of the Rosary. 
Munich. Pinakothek. St. Anthony of Padua. 
Petrsbrg. Hermitage. Virgin and Child. 

Infant Christ and St. John. 


if y Apparition of Saints to a Domin- 


- : ican. 
a # Portrait of Alonso Cano. ~ 
Seville. Cathedral. The Madonna and Child. 


2 Museum. Souls in Purgatory. 


CANO, Joaquin JoseEr, a Spanish painter, was 
born at Seville, and became a pupil of Domenico 
Martinez. He excelled in copying the works of 
other masters, and so skilfully imitated the ‘ Vir- 
gins’ of Murillo that his copies may be mistaken 
for the originals. He was secretary of the School 
of Design at Seville, and died in that city in 1784. 

CANO pr AREVALO, Juan, a Spanish painter of 
fans, was born at Valdemoro in 1656, and became 
a scholar of Francisco Camilo. After wasting 
much of his time in idle company, and much of 
his energy in fencing, by secluding himself for a 
whole winter, and bringing out his accumulated 
labours in the spring, he succeeded in making his 
beautifully-painted fans the fashion, as newly- 
imported French ones. The discovery of the trick 
did not destroy their well-earned popularity, and 
Cano was appointed abaniquero (fan-maker) to 
the queen, Although his chief excellence lay in 
miniature painting, he executed some larger works: 
several in distemper for the chapel of the Rosary 
in the church of his native town, and a singular 
allegorical piece, painted on the death of Queen 
Maria Louisa, representing that queen as a winged 
spirit surrounded by a halo of rays, each contain- 
ing a text allusive to her virtues. It was hung 


like a canopy over the coffin within the grotesque’ 


catafalque of Churriguera. It was engraved by 
Gregorio Fosman for the work of Vera Tassis, 
the plate bearing Cano’s curious monogram. He 
also assisted a brother artist in some altar-pieces 
for the Jesuits, and for the church of Santa Maria 
at Alcala. He was treacherously assassinated in a 
duel at Madrid in 1696. 

CANON, Hans, (or JOHANN VON STRASCHIRIPKA, ) 
a German painter, of Polish descent, was born in 
1829. In 1853 he dropped his unpronounceable 
Polish name for that by which he was afterwards 
known. He began life in the army, but in 1853 
studied under Rahl, and subsequently worked in 
Paris under Delaroche and Horace Vernet. He 
first attracted attention as a satirico-political 
draughtsman, then as a painter of portraits and 
military subjects. He eventually took to historical 
painting on an enormous scale, and in a preposter- 
ously exaggerated style. He lived successively at 
Carlsruhe, and at Vienna, where he died in 1885. 

CANON, Pierre LAvRENT, a French miniature 
and landscape painter, was born at Caen in 1787, 
He exhibited his works at Lille and Douai, but in 
Paris at the Salon of 1831 only. He died in Paris 
in 1852. 

CANOT, Pierre CHARLES, a French engraver, 
was born about the year 1710, and came in 1740 

244 


to England. He was elected an Associate-En- 
graver of the Royal Academy in 1770, and died — 
at Kentish Town in 1777. He engraved a great — 
number of landscapes and sea-pieces, many of — 


which have great merit. Some of his best prints _ 
were executed after the works of Richard Paton, __ 


The following are his most esteemed plates : ] 

A Slight Breeze ; after Bakhuisen. A Fresh Breeze;  _ 

A Calm; and A Storm; after W. van de Velde. 

Returning from Market; after P. de Laer. The 
Amorous Toper; and The Dutch Smokers; after D. 

Tenters. The Dutch Cottage; Autumn; Winter; 
after Pillement. A Dutch Merry-making; after 
Ostade. Pyramus and Thisbe; after L. Bramer. ‘ 
The Tempest; after S. de Vliegher. An Italian 
Landscape; after Gaspard Poussin. A Landscape ; 
and Sunrise, a marine; after Claude Lorrain. Two Ps 
Pastoral Subjects; after Rosa da Tivoli. Two Views 
of Westminster Bridge and London Bridge; after 4 
Scott. Seven Fox-hunting Subjects; after Wootton. 

CANOVA, Anronto, the celebrated sculptor, who 
was also a painter, was born at Possagno, near 
Bassano, in 1757. His paintings show a careful — 
study of the Venetian masters, and are slightly 
finished as to their general colouring. In 1798 he 
produced ‘The Dead Christ, with St. Mary, St. 
Joseph, and Nicodemus,’ for his native town. The 
Museum of Nantes has a picture of ‘ Godefroid de 
Bouillon,’ presented by the artist to M. Cacault in 
1803. Canova died at Venice in 1822. 

CANOZZI, CrisTororo, the brother of Lorenzo 
Canozzi, was born at Lendinara about 1426. His 
works up to 1477 are mentioned in the notice 
of his brother. After Lorenzo’s death he carried. 
on business partly at Parma and partly at Modena. 
He was the author of a panel of a ‘ Virgin and 
Child’ in the Gallery of Modena, signed and dated 
1482: in the same Gallery is a ‘ Crucifixion, with 
SS. Jerome and Francis,’ that.may be attributed to 
him. The date of his death is uncertain. 

CANOZZI, Lorenzo, called LorEnzo pa LEN- 
DINARA, was born at that town in 1425, Both he 
and his younger brother Cristoforo were painters, 
mosaicists, modellers in terra-cotta, and printers 
of books. They flourished at Modena and Padua. 
Paciolo declares Lorenzo to have been a complete 
master of perspective. Between the years 1460 
and 1470 these brothers finished the carving and 
inlaying of ninety stalls in the choir of the 
Santo, Padua; and in 1465 they executed the stalls 
in the choir of the cathedral of Modena. The 
first mentioned, with four exceptions, all perished 
by fire in 1749, At Modena four of the panels 
representing the Doctors of the Church, still remain. 
Between 1472 and 1476 the two brothers executed 
the mosaics of the presses in the sacristy of the 
Santo, Padua, from designs by Squarcione, of 
whom Lorenzo at least was a pupil; these have 
been much damaged by restorations, Lorenzo is 
also thought to be the author of the frescoes of SS. 
Jerome, Ambrose, Gregory, and Augustine in the __ 
Eremitani Chapel at Padua, His death occurred in 
1477, and after that the business was carried on by 
Cristoforo. A ‘Madonna and Child’ in the Modena 
Gallery bears his name, and the date 1482. 

CANTA-GALLINA, Remicio, was an Italian 
designer and engraver, born at Florence in 1582. 
He frequented for some time the school of the 
Carracci, though he does not appear to have 
distinguished himself as a painter. He was in- 
structed in engraving by Giulio Parigi, His pen 
drawings possess great merit, and are highly 
esteemed. We have a number of plates by him 


capes, theatrical decorations, and triumphal 


_ Aset of six landscapes. 
_ Aset of twelve landscapes ; octagon ; marked with his 


f A set of plates of the Scenes of an Opera; after the 
ss designs of Giulio Parigi. 
See ade plates, called the Palazzo della Fame; dated 


 CANTARINI, Smong, called Srvonz pA PEsaro, 
or In PEsARESE, painter and engraver, was born at 
_ Oropezza, near Pesaro, in 1612. He was instructed 
in design by Giovanni Giacomo Pandolfi, and after- 
_ wards studied under Claudio Ridolfi. Butthe works 
_ of Guido Reni were at that time so much the objects 
_ of admiration, that, although he had gained already 
no little celebrity by his picture of ‘St. Peter,’ 
_ painted for a chapel at Fano, near that in which was 
_ placed Guido’s picture of ‘ Christ giving the Keys to 
_ St. Peter,’ he resolved to become a student in the 
_ school of Guido, where he remained until his inso- 
___ lence and malevolence, not only to his instructor, 
but to Domenichino and Albani, obliged him to 
quit Bologna, and seek shelter in Rome, where he 
employed some time in studying the works of 

Raphael. On his return to Bologna, not finding a 
' residence there agreeable to him, he went to 
_ Mantua, where he was taken into the service of 

the duke, and was employed to paint his portrait. 
But whether he had not been accustomed to that 
branch of art, or from some other cause, he was 
entirely unsuccessful. This disappointment, prey- 
ing on a disposition naturally morose and irritable, 
is supposed to have occasioned his death at Verona 
in 1648. Baldinucci considers Cantarini as another 
Guido; but although his merit is undoubted, and 
though he is allowed to have approached nearer 
to him than any other of his imitators, he has little 
claim to originality ; and for all that we admire in 
his best works, many of which possess great beauty, 
he is evidently indebted to his great model. 

The following are his principal paintings still 
extant : 


The Assumption. 


Bologna. Pinacoteca. 
The Chastity of Joseph. 


Dresden. Gallery. 


- Fano, S. Pietro. Miracle of St. Peter. 
o° aS S. Ignazio. St. Thomas of Villanuova. 
Genoa. Durazzo Pal, The Flight into Egypt. 
me Madrid. Gallery. Holy Family. 
Milan, Brera. Holy Family. 
2 * The Transfiguration. 
Ff: Modena. Museum. Christ at Emmaus. 
- Munich. Pinakotkek. Christ appearing to the Magdalen. 
, BS = The Incredulity of St. Thomas. 
ee a - St. Cecilia. 
|= Paris. Louvre. Repose of the Holy Family (St. 
: Joseph seated). 
o Bet: ss Repose of the Holy Family (St. 
& Joseph sleeping). 
M Petrsbrg. Hermitage. Holy Family. 
” & ” ” Repose in Egypt. 
. Rome, Corsini Pal. His own Portrait. 
; ie . Colonna Pal. St. Sebastian and the Holy 
; 2 Women. 
ee Vienna, Gallery. Tarquin and Lucretia. 
. s ” Madonna and Child. 


| age ais PAINTERS AND ENGRAVERS. 


As an engraver the etchings of Cantarini are in 
very high estimation. They are very masterly and 
spirited ; but in them his imitation of the etchings 
of Guido is even more apparent than in his paint- 
ings, and it would not be easy to distinguish them 
if the plates by Guido did not show a superior 
marking of the figure, particularly in the extremi- 
ties. There are about thirty-seven etchings by him 
known, of which the following are the principal : 


Adam and Eve eating the forbidden Fruit. ; 
The Repose in Egypt; falsely marked G. Renus in. § 


fee. 

Another Repose in Egypt, the Head of the Virgin in 
profile, with St. Joseph sitting near her. 

Another Repose in Egypt, the Head of the Virgin in 
front, with St. Joseph in the distance ; very fine. 

The Holy Family, with St. John. 

Another Holy Family, with St. John; marked S. C. da 
Pesare fe. 

The Virgin Mary, with a Glory, and the Infant Jesus; 
marked S. C. da Pesare fe. 

The Virgin, with the Infant Jesus holding a Bird by a 
String. 

The Virgin sitting in the Clouds, with the Infant Jesus 

The Virgin, with a Glory, crowned by two Angels. 

Christ bearing His Oross, with Joseph of Arimathea. 

St. John the Baptist in the Wilderness, holding his 
Cross, and a Cup. 

St. John in the Wilderness, sitting on a Stone. 

St. Sebastian, with an Angel presenting the Palm of 
Martyrdom. 

The great St. Anthony of Padua kmeeling before the 
Infant Jesus. 

The little St. Anthony of Padua. 

St. Benedict curing a Demoniac; after Lod. Carracci. 

The Guardian Angel leading a Child. 

Jupiter, Neptune, and Pluto doing homage to Cardinal 
Borghese; fine; for some time thought to be by 
Guido. 

The Rape of Europa; fine and scarce; marked G. Renus 
an. et fec. 

Mercury and Argus; fine and scarce. 

Mars, Venus, and Cupid; after Paolo Veronese. 

Venus and Adonis. 

Fortune, represented by a Female with her foot on a 
globe; after Guido Reni ; marked G. Renus in. et fec. 


CANTI, GIovANNI, was a native of Parma, and 
was born about the year 1650. According to 
Lanzi, he resided chiefly at Mantua, where his 
battle-pieces and landscapes were much sought 
after. He also attempted historical subjects, but 
never rose above mediocrity, and seemed to imagine 
himself able to make up for every other requisite 
by his promptness and facility of execution. He 
died in 1716. 

CANTINI, GiovaccHino, an engraver of note in 
Florence, and one of Raphael Morghen’s most suc- 
cessful pupils, was born about 1780, and died about 
1844, The following are his best works: 


The Virgin and Child, with St. Sebastian and St. 
Anthony ; after Fra Bartolommeo: his chef-d’couvre. 

The Virgin with her hands folded ; after P. Batoni. 

The Holy Family; after Leonardo da Vinci, for the 
Musée Napoléon. 

eet with the Head of Holofernes; after Allori ; 

St. Peter walking on the Sea; after L. Cigoli. 

Michelangelo Buonarroti; after Vasari. 


CANTOFOLI, Ginevra, a lady artist, was a 
native of Bologna, and Zani says that she was 
born in 1618, and died in 1672. According to 
Malvasia, she received her instructions in art from 
Elisabetta Sirani, and achieved some reputation as 
a historical painter. She executed several works 
for the churches of her native city: amongst others 
the following: 

245 


ee ee ee Dy a On once ee te Se iE eA: 
Sage Oe ogee er Nee Gi a) = eee ace me 


A BIOGRAPHICAL DICTIONARY OF 


Bologna. SS. Procolo. ; The Last Supper. _ 

S. Giacomo Maggiore. St. Thomas of Villa- 
nuova. 

St. Apollonia. 


99 


La Morte. 


”? 


CANTON, Franz Tuomas, an Austrian landscape. 


painter of repute, was a native of Udine. He was 
born in 1677, and died at Vienna in 1733. 

CANTON, JoHANN GABRIEL, who was born at 
Vienna in 1710, studied under his father, Franz 
Thomas Canton, and became known as a painter 
of battles, landscapes, and animals. In the. Belve- 
dere, Vienna, is a ‘ Landscape with peasants dancing ’ 
by him. He painted the animals in the landscapes 
of Orient and the battles in some large pictures of 
Martin von Meytens, and died at Vienna in 1753, 

CANU, Jean Dominique ETIENNE, a French 
engraver, born in Paris in 1768, was a pupil of 
Delaunay. He engraved the series of ‘Costumes 
des troupes francaises de 1792 & 1816,’ many 
theatrical and other portraits, and a large number 
of plates of animals and plants for the ‘ Description 
de l’Egypte,’ Cuvier’s ‘Iconologie du Regne 
animal,’ the ‘Muséum d'Histoire naturelle,’ Du- 
perrey’s ‘Voyage autour du Monde,’ the ‘ Flore 
des Antilles,’ and other works. The date of his 
death is unknown. 

CANUTI, Domenico Maria, a painter and etcher, 
was born at Bologna in 1620. He studied art 
under Guido Reni, and subsequently founded a 
school of his own in his native city. He went to 
Rome, and remained there for some years, and also 
visited Mantua and Padua. He is the painter of 
the frescoes in the library of San Michele in Bosco. 
His best frescoes are those in the Palazzo Pepoli at 
Bologna, in the ducal palace at Mantua, and in the 
Colonna Palace at Rome. His paintings exhibit 
much imagination and skill in foreshortening, and 
are finished in the style of Guido Reni, after whose 
works he has left several etchings and engravings. 
The church of the Olivetan Fathers at Bologna 
possesses a very fine painting by him, representing 
‘The Descent from the Cross,’ with a moonlight 
effect ; and in the church of San Bernardino in the 
same city are two Madonnas with Saints and Angels 
by him, of one of which he has left an etching. 
In the Bologna Gallery is a ‘Death of St. Bene- 
dict’ painted for Santa Margherita in that city. 
He died at Bologna in 1684. The following en- 
gravings are by him: 

Portrait of Lodovico Carracci. 

As Agostino Carracci. 
The Virgin in the Clouds, with Christ 
J e irgin in e€ ou r1s s 
Rating by her side. mae Hen from Bis 
St. Roch. 
St. Francis praying; after Guido. 


own design. 


CANY, JEAN BaApTisTE DE, a French historical 
painter, is known only by a ‘mai,’ representing 
‘The Conversion of St. Denis at Athens,’ which he 
painted in 1671 for the cathedral of Notre-Dame at 
Paris. 

CAPANNA, Puccio, was a Florentine painter of 
the 14th century, who was admitted a member of 
the Florentine Guild in 1350. He was a pupil of 
Giotto, and enriched with frescoes of Scriptural 
subjects, in the manner of his master, the cities 
of Florence, Rimini, Pistoja, Bologna, and Assisi. 
There are some pictures of the Passion on the 
vaulting of the Lower Church at Assisi, which are 
attributed to him. The paintings in the chapter- 
house of §. Francesco at Pistoja, representing scenes 
from the life of St. Francis, and from that of our 

246 


Lord, are still in a good state of preservation : 
some are from the hand of Capanna, who died at 


Assisi. 


CAPDEBOS, Pierre Francois, a French his- ; 


torical painter, born at Perpignan in 1795, was a 
pupil of Berthon. He was the founder of the 
Museum of Perpignan, inaugurated in 1833, and 


was also professor of drawing in the free school — 


of that town. He died in Paris in 1836. _ 
CAPELLA, It. See Daait,' FRanczsco. 
CAPELLANI, Anronio, was an engraver, and 
born at Venice about 1730. He was a pupil of 
Wagner, and engraved several plates both at Rome 
and Venice. The greater part of the portraits in 


the edition of Vasari, published by Bottarini at 


Rome in 1760, were engraved by Capellani. He 
also engraved several of the plates for the ‘Schola 
Italice Picture,’ under the direction of Gavin 
Hamilton. The following are his principal prints : 

Portrait of Michelangelo Buonarroti. 

The Drawing School; after Dom. Maiotto. 

Diana and Endymion ; after the same. 

Apollo and Daphne; after the same. 

The Creation of Eve; after Michelangelo. 

Adam and Eve driven from Paradise ; after the same. 

Marriage of St. Catharine ; after Correggio. 

The Repose in Egypt; after Barocci. 1772. 

View of the Portico of the Villa Albani; after Panint. 


CAPELLE, Jan VANDER. See VAN DER CAPPELLE. 

CAPELLI, FRANcEsco, was a native of Sassuolo 
in the province of Modena, and was educated in the 
school of Correggio. He flourished about 1568. In 
the church of San Sebastian at Sassuolo is an altar- 
piece of the ‘Madonna and Child in Glory, with 
attendant Saints,’ which is executed by him in the 
style of his master, and bears a strong resemblance 
to a picture in the Dresden Gallery, which is also 
by him. He was also called CAccIANEMICI, but 
must not be confounded with another Francesco 
Caccianemici, who was a pupil of Primaticcio, and 
lived about the same period. 

CAPELLI, Giovanni ANTONIO, was born at 
Brescia in 1664. He was first instructed by Pom- 
peo Ghiti; he afterwards visited Bologna, where 
he studied some time under Lorenzo Pasinelli, and 
finally went to Rome, where he frequented the 
school of Battista Gaulli, called Baciccio, He 
painted historical subjects, and his works in fresco 
were held in considerable estimation; they are 
chiefly in the public edifices at Brescia. Zani is of 
opinion that he was born in 1669 and died in 1741. 

CAPELLINI, Gaprizxez, called In CALIcARINo, 
or I~ CALZOLARETTO (the little shoemaker), from 
his having first pursued that trade, was a native 
of Ferrara, who flourished about 1520, and is said to 
have been induced to attempt painting, and to have 
become a scholar of Dosso Dossi, from having been 
complimented by that artist on the elegant shape of 
his shoes. His pictures imitate those of his master 
so skilfully that they are often taken for those of 
Dossi. In the church of San Francesco at Ferrara 
is a picture by him of ‘St. Peter and St. James,’ 
and in San Giovannino the principal altar-piece, 
representing ‘The Virgin and Infant, with several 
Saints,’ is by him. 

CAPELLINO, Giovanni Domenico, was born at 
Genoa in 1580, and studied painting under Giovanni 
Battista Paggi, of whose manner he was a success- 
ful imitator. His style is less noble than that of 
his master, but he possessed other qualities of the 
art that render his works interesting, as is evident 
in his ‘Death of St. Francis’ in San Niccolé at 


eS ee ae 


ee” ee 


& eee be 


(vie ae 


__CAPET, Martz GABRIELLE, a French painter 
of portraits in oil, water-colours, and miniature, 
+ was born of humble parentage at Lyons in 1761, 
____ and became a pupil of Madame Vincent. She ex- 
hibited first in 1781, and from that time onwards 
~ (ane a large number of portraits, of which the 

; est known are those of Mesdames Adelaide and 

Victoire, Madame Vincent surrounded by her pupils, 

Mile. Mars, and Houdon the sculptor. Mlle. Capet 

died in Paris in 1818. 

CAPITELLI, BERNARDINO, was a painter and 
_ etcher who was born at Siena in 1589. He 
became a pupil of A. Casolani, and then of R. 
_ Manetti, and between the years 1622 and 1637 was 
actively engaged in his profession, both at Rome 
iy and at Siena. His etchings, though somewhat 
+ hard and deficient in harmony of tone, are distin- 
guished by careful drawing. He died in 1639, 
Amongst his etchings may be mentioned : 
ss Portrait of Alessandro Casolani; B. Capitelli fecit. 

St. Anthony of Padua; B. Capitelli fec. 1637. 

Marriage of St. Catharine ; after Correggio. 

The Repose in Egypt, a night scene; after Rutilio Ma- 
nettt. 

Lot and his Daughters; after the same. 

Ceres drinking in the Cottage of the old Woman. The 
same subject which Count Goudt engraved after Els- 
heimer. 

A set of twelve plates of the Life of St. Bernard of 
Siena. . 

A set of friezes and bassi-rilievi, among which is the 
Aldobrandini Marriage from an antique painting. 

CAPLIN, Jean Francois Istporz, a French topo- 

graphical engraver, was born in Parisin1779. He 
was a pupil of Blondeau, and exhibited at the Sa- 
lon of 1827 a drawing of ‘St. John’s, Newfound- 


land.’ He also engraved a number of maps for 
the Dépét dela Marine. The date of his death is 
not known. 


CAPODORO. See PAGANINI. 

CAPOLONGO, Antonio, was a Neapolitan painter 
who flourished about the year 1580. He was 
a pupil of Giovanni Bernardo della Lama, and, 

according to Dominici, painted the principal altar- 
piece for the church of San Diego, Naples, repre- 
senting ‘The Immaculate Conception, withSS. Fran- 
cis of Assisi and Anthony of Padua,’ The church of 
San Niccold, in the same city, possesses a ‘ Madonna 
and Child in a Glory of Angels, with attendant 
Saints,’ by this artist. 

CAPON, Wi.14M, the son of an artist, was born 
at Norwich in 1757, and in early life practised as a 
portrait painter. He went to London, and was 
employed on the decorations of Ranelagh Gardens 
and the Italian Opera-house. He was afterwards 
employed by John Kemble as scene painter for 
Drury Lane Theatre, which was rebuilt in 1794. 
In after years he became celebrated as an archi- 
tectural draughtsman ; and occasionally exhibited 
at the Royal Academy. He died at Westminster 
in 1827. 
~ CAPONIBUS, RarraE.uino DE. See Capponi. 

CAPORALI, BartoLomMrEo, was an inferior 
painter of Perugia, who flourished there towards 
the close of the fifteenth century ; he painted from 
1472 to 1499. A ‘Madonna and Saints’ done by him 


, . er aah a 5 Sa 7 eee Se ee ete et a Se lie a eo ah = 
. 'S = Liss 


at Castiglione del Lago, is still preserved in that 
town, and is thought by Messrs. Crowe and Caval- 
caselle to be the only specimen of his skill that has 
any claims to authenticity. 


in 1487, for the church of Santa Maria Maddalena - 


CAPORALI, Giovannt Bartista, called also 
BirtiI, a diminutive of his Christian name, by 
Vasari, who names him erroneously Benedetto, was 
the son of Bartolommeo Caporali, and was born at 
Perugia about 1476, and died about 1560. He was 
the scholar and imitator of Perugino, and also 
an architect, and built a palace near Cortona 
for Cardinal Silvio Passerini, which he likewise 
decorated with frescoes, in the execution of which 
he was aided by Tommaso Barnabei, better known 
as Maso Papacello. His paintings exhibit a bold- 
ness and freedom of style, and occasionally are 
finished after the manner of Signorelli, and are 
deservedly esteemed. Many of the churches in 
Perugia and its neighbourhood possess works by 


Caporali. Other examples may be found as under: 
Cortona. ee Sixteen Classic Scenes. 
Rome. S&S. Croce in | The Eternal Father in Glory 
Gerusalemme. surrounded by Saints. 
os cs The Crucifixion. 
Panicale. Cathedral. The Nativity. 
‘3 S. Salvatore.Christ between SS. John the 
Baptist and Peter. 


CAPPELLA, Scipione, an Italian historical 
painter, was a pupil of Solimena. He lived in 
the 18th century, and copied his master’s paintings 
with such success that when retouched by the 
latter they passed for originals. 

CAPPELLE, JAN VAN DER. 
CAPPELLE. 

CAPPELLI, CAPPELLINI, 

See Capriui, &c. 

CAPPELN, HERMANN AvGusT, was a painter 
born at Skien in Norway in 1827. He went to 
Disseldorf, where he studied under Gude. There 
is a capital mountain landscape by him, in the 
Christiania Gallery, the scene of which he took 
from the neighbourhood of Thelemark. His paint- 
ings were characterized by breadth and originality, 
combined with much poetical feeling. He died 
at Dusseldorf in 1852. 

CAPPONI, RAFFAELLINO (DI BARTOLOMMEO), 
called, from the melancholy sweetness by which 
his pictures were distinguished, RAFFAELLINO DEL 
GARBO (and also variously known as ‘ Raffaellino 
de Caponibus,’ ‘R. de Florentia,’ ‘R. de Carolis,’ 
and ‘R. Karli’), was a Florentine painter who is 
stated to have been born in 1476. He was a dis- 
ciple of Filippino Lippi, whom he soon surpassed, 
and for some time he gave promise of extraordin- 
ary ability. He accompanied Filippino to Rome, 
where he was employed in the Cappella della Mi- 
nerva, and painted in the vault some beautiful 
angels, which were more admired than the prin- 
cipal work by his master. On his return to Flor- 
ence, he painted for the church of Monte Oliveto a 
picture of ‘The Resurrection,’ in which the grace- 
ful heads, the characteristic expression of the 
numerous figures, and the beauty of the colouring 
exceeded any production of the time. Another 
fine picture, painted in the early part of his life, is 
in the monastery of San Salvi, and is highly com- 
mended by Moreni in his ‘Notizie istoriche dei 
Contorni di Firenze,’ He is the author of a ‘ Virgin 
and Child’ between SS. Francis and Zenobius and 
two kneeling patrons, which is signed and dated 
1500, and is now in the Hospital of Santa Maria 
Nuova, in Florence. Messrs. Crowe and Caval- 
caselle have also assigned to this artist an altar- 
piece in the church of San Spirito, Florence, repre- 


senting ‘The Virgin and Child, with four py ae 


See VAN DER 


CAPPELLINO. 


A BIOGRAPHICAL DICTIONARY OF 


and Satan bound ;’ also altar-pieces in Santa Maria 
degli Angeli of Siena, and an altar-piece to be seen 
in the Academy of Pisa. Rosini has given a print 
of ‘The Resurrection of Christ,’ from the picture in 
the Academy at Florence (plate 104), and it justifies 
the praise bestowed upon the painter, but contains 
only seven figures. The cares of a large family 
eventually proved fatal to the growing reputation 
of Capponi, causing him to sink into a state of list- 
lessness and apathy, so that his later productions 
were extremely feeble. He is said to have died at 
Florence in great poverty in 1524, but the dates 
of both his birth and death are perhaps open to 
question. The following is a list of his best extant 
paintings : 


Berlin. Gallery. Virgin between two draped Angels. 
Hlorence, ne pps a, { Lhe Miracle of the Loaves—Fresco, 
a * The Annunciation. 
St. Roch. 


b) 39 

: ~ St. Ignatius. 

8. Spirito. The Trinity adored by SS. Cath- 
arine and Mary Magdalene. 

Virgin surrounded by Saints. 1505. 

The Nativity. 

The Resurrection. 

Coronation of the Virgin. 


x S. Lorenzo. 
A Academy. 
Paris. Louvre. 

CAPPUCINO. See GALANTINI, and STRozz1. 

- CAPRIOLI, ALIpRANDO, was a Florentine en- 
graver who worked at Rome somewhere about 
1580, producing portraits and historical subjects 
in the style of Agostino Carracci. 

CAPRIOLI, Domenico, was a painter born at 
Treviso in 1495. He produced portraits in the 
style of Giorgione, which were well conceived, and 
rendered in a skilful manner. There is a fine por- 
trait by him in the Pinakothek at Munich, His 
monogram was a deer. 

CAPURRO, Francesco, was born at Genoa, and 
was a scholar of Domenico Fiasella. On leaving 
that master he went to Naples and Rome, where 
he attached himself to the works of Spagnoletto, 
whose strong and vigorous style was then admired, 
He was employed some time at the Court of Mo- 
dena, and, according to Soprani, died at Genoa, in 
the prime of life, of a malignant fever. He flour- 
ished about 1690. 

CAQUET, Jean GABRIEL, a French engraver, was 
born in Paris in 1749. He engraved ‘ L’Innocence 
en Danger,’ after Lavreince, ‘La Soirée du Palais- 
Royal,’ and illustrations to the ‘ Contes’ of La Fon- 
taine, after designs by Fragonard. He died in 
Paris in 1802. 

CARABAHEL (or CaraBasaL). See CARBAHAL, 

CARACCI. See Carraccti. 

CARACCIOLO, Giovanni BATTISTA, commonly 
known as BATTISTELLO, a Neapolitan painter, was 
born in 1580. He studied under F. Imparato and 
Caravaggio, devoting himself later to the style 
of the frescoes by Annibale Carracci in the Far- 
nese Palace, Rome: he generally painted in the 
manner of Annibale Carracci, but his pictures 
were at the same time tinged with much of the 
influence of the naturalistic tendency of his con- 
temporary Spagnoletto. He died at Naples in 
1641. Among the works which he painted for the 
churches of Naples were the following: 


Naples. 8. Martino. 


» 8.Mariadella 
Solitaria. 
» SS. Niccolo. 


248 


Mary Magdalene anointing the 
Feet of Christ. 


i St. Cecilia. 
St. Anthony of Padua, 


iy we! Ue, ie tee —. ae! oe ys a oo, 
ART, rales Ae: Se ae S & " es 
i PRN ee ae ny tem. ek ed ec CSS Oks ISN Shins 
' ORE hs tide els see | he GS? tly Rito Peg Ho MSS ach Sin hair La a 
1 - % a) eg pe ee Ree AS ro 
. ® : a] ue ’ _ . 
eS ‘ Me veyaX ee’ ‘ 


‘ 


x 8. Anna dé The Assumption. 
_ Lombardi. § Death of the Virgin. ye 
» 4S. Agnelilo, St. Charles. | Sees 


CARAFFE, ArmManp CHARLES, a French his- 
torical painter, who also etched, was born in Paris 
in 1762. He was a pupil of Lagrenée and of 
David. He visited Rome, and subsequently 
travelled in Turkey ; but at the outbreak of the 
Revolution he returned to France, and became so 
active a member of the club of the Jacobins that — 
he was imprisoned from 1794 to 1797. He ex- 
hibited in 1799 a picture of ‘Hope supporting 
Misfortune to the Grave,’ which was much praised, 
and in the following year one of ‘ Love, abandoned 
by Youth and the Graces, consoling himself on the 
bosom of Friendship,’ which was purchased by 
the wife of the First Consul. In 1802 he quitted 
France for an appointment at the Court of St. 
Petersburg, where he remained until 1812, and 
painted for Prince Yusupov ‘The Oath of the 
Horatii.’ He eventually returned to Paris, and 
died in that city in 1822. . WS ee 

CARAGLIO, Giovanni JAcoPpo, (or CARALIUS, 
or as below,) an Italian designer and engraver, 
was born at Parma in 1498 or 1500, and was a 
pupil of Mare Antonio Raimondi, His drawing 
is very correct; he gave a fine expression to his 
heads, and his extremities are marked in a mas- 
terly manner. Caraglio holds an eminent rank 
among the engravers of his country. He was— 
much employed in the engraving of gems, and 
executed several medals, by which he gained great 
reputation at the court of Sigismund, King of 
Poland. He flourished as an engraver on copper 
from 1526 to 1551. In the latter part of his life 
he returned to Italy, and, after working for a time | 
at Verona, settled on his own estate near Parma, 
where he died about 1570. He is also called 
JACOBUS PARMENSIS, and JACOBUS VERONENSIS, 
which names he sometimes inscribed on his plates. 

The following are the best of the sixty-nine 
plates he is known to have left: : . 


A Battle, with the Shield and Lance; after Raphael. 

Alexander and Roxana; after the same. 

Diogenes ; after Parmigiano. 

Martyrdom of SS. Peter and Paul ; after the same. 

Portrait of Pietro Aretino; after the same. 

Marriage of the Virgin; after the same. 

The Virgin and Infant, under an Orange Tree; Jacobus 
Veronensis. 

The Virgin kneeling, with the Infant and St. Ann. 

The Holy Family ; after Raphael ; the same subject as 
the fine print by Edelinck. 

Another Holy Family, with St. Elizabeth; after 
Raphael. 

The Annunciation ; after Titian. 

The Punishment of Tantalus ; oe the same. 

The Rape of Ganymede; after Michelangelo. 

An Anatomical Figure, holding a Skull; after Rosso. 

Hercules piercing with his Arrows the Centaur Nessus; 
after the same. : 

Hercules slaying Cacus ; after the same. 

Nymphs and Young Men in a Garden ; after the same, 

Twenty, of Divinities with their Attributes, in niches ; 
after the same. 

Twenty, of the Metamorphoses of the Gods ; after Rosso 
and Perino del Vaga. 

The Triumph of the Muses over the Pierides; after 
Perino del Vaga. 1553. 

The Death of Meleager ; after the same. 

The Creation ; after the same ; semi-circular. 

The Rape of the Sabines ; after Rosso ; unfinished. 

The School of an Ancient Philosopher, 


CARAVAGGIO, Micuzn Anaiono pA, See 
AMERIGI. 


es. in 16 


1 


} oe ARAVAGGIO, PoLIpoRO DA, See CALDARA, 
_ CARAVAQUE, Louis, a French portrait painter, 
was a native of Gascony. He went to Russia, and 
1716 painted at Astrakhan the portrait of Peter 
the Great, which has been engraved by Massard 
and by Langlois. He again painted the Czar in 
1723, and subsequently the Empresses Anne and 
Elizabeth. He died in Russia in 1752. 
ri _CARAVOGLIA, Barrotommno, was a native of 
___ Piedmont, and flourished about 1673. He is said 
to have been a scholar of Guercino, but Lanzi 
doubts this, observing that his lights are less lucid 
and his shadows less deep than those of the 
_ genuine followers of that master. Notwithstand- 
ing this fault, his pictures please by their quiet 
colour and their originality in design. His best 
painting is the ‘Last Supper,’ in the church of 


Py 
arf 
a f 


od 
ov 


Tet ey 
4 ee 


Corpus Domini, Turin. 
-  CARBAHAL, Luis pz, (CARABAHEL, or CARA- 
_ -BAJAL,) a Spanish painter, was born at Toledo 
34, and died at Madrid in 1613. He was 
a pupil of Juan de Villoldo, and was appointed 
court painter to Philip IJ. in 1556. He executed 
_ numerous paintings in the Escorial which show 
firm drawing, good colouring, and great power of 
_ religious expression. His best performance is the 
high altar-piece in the church of the Minimi at 
Toledo, painted in 1591, <A ‘Circumcision of 
_ Christ’ by him is in the Hermitage, St. Peters- 
burg, and in the Madrid Gallery are a ‘ Penitent 
_ Magdalen’ and a ‘St. Nicholas of Tolentino.’ 

CARBONE, Luici1, a Neapolitan landscape 

painter, who flourished about 1660, was a native 

of Marcianisi. He went to Rome, and efter study- 
ing under Paulus Bril, visited Venice, and finally 
settled at Naples. His landscapes usually portray 
scenes of storm and flood, and the figures in them 
are particularly charming. 

CARBONI, Francesco, was a Bolognese, and 
the pupil of Alessandro Tiarini. He afterwards 
showed himself an admirer of Guido, and imitated 

- the graceful and elegant style of that master.. He 
died in 1635. Among his works are noted: 


Bologna. S. Martino ) Crucifixion, with St. Theresa and 
Maggiore. other Saints. ; 
S. Paolo. The Entombment of Christ. 
Servite Fathers.The Decollation of St. John the 
4 Baptist. 


a 


CARBONI, GiovANNI BERNARDO, a native of 
Albaro, near Genoa, was born in 1614. He be- 
came a scholar of Giovanni Andrea de’ Ferrari, 
and obtained a great reputation in his day, both 
as an historical and portrait painter. In the latter 
branch it is said that he painted much in the 
manner of Van Dyck. He died at Genoa in 1683. 

CARDENAS. BarToLoms DE, was, according to 
Palomino, a native of Portugal, born in 1547, who 
when very young went to Madrid, where he be- 
came the pupil of Alonso Sanchez Coello, and 
achieved a deservedly high reputation. He 
painted the greater portion of the cloisters of the 

- convent of Nuestra Sefiora de Atocha, at Madrid. 
In the latter period of his life he went to Valla- 
dolid, where he painted many altar-pieces, and 

decorated the cloisters of the convent of San 
Pablo. He died at Valladolid in 1606. 

CARDENAS, Fray Ienacio DE, was a Spanish 
engraver, who executed, about 1662, the arms of 
the families of Cordoba and Figueroa, and some 
prints of sacred images revered in Cordova, 

CARDENAS, Juan DE, was the son and pupil of 


Peer te 


ly eee el 
~~ 


PAINTERS AND ENGRAVERS, 


Bartolomé de Cardenas. He flourished at Valla- 
dolid about 1630, and distinguished himself in 
painting landscapes as well as fruit and flowers. 
CARDI, Lopovico, called CigoLI, an eminent 
painter of the Florentine school, was born at 
Cigoli, in Tuscany, in 1559. He was first a 
scholar of Alessandro Allori, but was afterwards 
instructed by Santo di Titi, whose academy was 
then the most attended at Florence, He was, 
however, more indebted to his study of the 
works of Michelangelo, Andrea del Sarto, and 
Pontormo than to either of his masters. After tra- 
velling through Lombardy, he returned to Florence, 
and was received into the Academy ; his picture of 
reception was ‘Cain slaying Abel.’ He was em- 
ployed by the Grand-Duke in some works for the 
Pitti Palace, where he painted ‘Venus and a 
Satyr,’ and ‘ The Sacrifice of Isaac.’ His protector 
sent him to Rome, where he was engaged to paint 
a picture for St. Peter’s, the subject being ‘St. 
Peter healing the Lame Man at the Beautiful Gate 
of the Temple.’ This admirable picture has been 


‘considered by many as one of the finest works in — 


the Vatican, after Raphael’s ‘ Transfiguration,’ and 
Domenichino’s ‘ Communion of St. Jerome.’ 

Lodovico Cardi died at Rome in 1613. He 
painted many easel pictures of saints (more espe- 
cially St. Francis of Assisi), hermits, and Magda- 
lens at devotion, which are remarkable for their 
expression of fervour, contrition, and asceticism, 
pike are generally wrought up to a high degree of 

nish, 

The following galleries and churches possess 
paintings by Cigoli: 
Empoli. Collegiata. 

- S. Croce. 
Florence. Accademia. 

? > 

99 99 


The Last Supper. 

Elevation of the Cross. 
Martyrdom of St. Stephen. 

St. Peter walking on the Sea. 
St. Francis receiving the Stig- 


mata. 
» 8. Maria Mag-\ 4, atbert. 
giore. 
ds S. Croce. The Trinity. 
ps p The Entry into Jerusalem. 
ae Uffize. Martyrdom of St. Lawrence, 


Martyrdom of St. Stephen. 
His own Portrait. 
Deposition of the Cross. 
Ecce Homo. 

Virgin and Child. 

Portrait of a Man, 

St. Francis. 

The Magdalen. 


99 99 


” Say 
He Pitti Pal. 


bh. 99 
Madrid. Gallery. The Magdalene. 
Munich. Pinakothek. St. Francis. 
Paris. Louvre. The Flight into Egypt. 
* St. Francis of Assisi. 
Petsbrg. Hermitage. David. 
& ae Tobias and the Angel. 
Rome. Borghese Pal. St. Francis. 
ae Corsini Pal. A Concert. ; 
os S. Peter's. St. Peter healing the Lame 
Man. 
3 S. Giovanni de’ 
Fiorentini.. | St. Jerome, 
i és. fee Suort Conversion of St. Paul. 
e Mura, 


Vienna. Gallery. The Dead Christ. 
4 Fe The Trinity. 


Cigoli’s pictures are occasionally signed with 


the following monogram: 


CARDISCO, Marco, better known as Marco 
CALABRESE, was born in Calabria about 1486. 
He is said to have been a pupil of acini da 


A BIOGRAPHICAL DICTIONARY OF : _ Se ae : 


Caravaggio, but, judging from his paintings, 
would ane to yee Samed his style upon that 
of Andrea da Salerno. He passed the greater 
portion of his life in Naples, in which city and its 
neighbourhood many examples of his painting can 
be found. Dominici has given a particular account 
of his productions. He died about 1542. Some 
of his paintings are: 
Museum. St. Augustine disputing with the 
Heretics. 
,, 8. Pietroad Aram. Descent from the Cross. 
A Pieta, with SS. Peter and Paul. 


Naples. 


” 39 33 


CARDON, ANTOINE, an engraver, was born at 
Brussels in 1772. He was the son of Antoine 
Alexandre Joseph Cardon, and was instructed in 
art by his father. During the troubles in the 
Low Countries in 1792, he took refuge in Eng- 
land, and brought with him an introduction to Mr. 
Colnaghi, who discerned the rising talent of the 
young artist, and gave him immediate employ- 
ment. He had risen to a deservedly high rank 
in public estimation when he fell a victim to a 
too assiduous application to his profession. His 
death took place in London in 1813. Amongst 
his numerous plates, chiefly executed in stipple, 
may be mentioned: 


The Presentation of Catharine of France to Henry V. 
of England; after Stothard. 

Salvator Mundi; after Carlo Dolct. 

The Woman taken in Adultery; after Rubens. 

Plates of the Indian Campaign against Tippoo Sahib. 

The Battle of Alexandria ; after Loutherbourg. 

The Battle of Maida; after the same. 

The Storming of Seringapatam ; after Singleton. 

Portrait of Madame Récamier ; after Cosway. 

CARDON, ANTOINE ALEXANDRE JOSEPH, a painter 
and engraver, was born at Brussels in 1739. He 
acquired his knowledge of painting at Vienna, 
under the tuition of H. de La Pegna, and was 
afterwards enabled to visit Rome, where he worked 
for three years. After that he went to Naples, 
where he’* laid aside the brush for the graver, 
and was employed on the plates for Hamilton’s 
‘Etruscan Antiquities.’ He died at Brussels in 
1822. Amongst his prints may be noticed: 

Portrait of George, Prince of Wales. 1766. 

Portrait of the Chevalier Verhulst. 

Le Bain Rustique ; after A. Watteau. 


La Signature du Contrat de la Noce de Village; after 
' the same. His principal work. 


CARDONNEL, AnrHony bE, who flourished 
about the year 1790, etched several plates, repre- 
senting ancient buildings in Scotland. 

CARDUCCI, Barrotommeo, (or, as he was called 
in Spain, CARDUCHO,) was born at Florence in 1560, 
and was brought up in the school of Federigo 
Zuccaro, He assisted that master in the great 
cupola at Florence; and whilst he was yet very 
young, painted for the church of the Jesuits two 
pictures, representing the Immaculate Conception 
and the Nativity. When Zuccaro was invited by 
Philip Il. to the court of Madrid, he prevailed on 
Carducci to accompany him, and he assisted in the 
great works that master executed in the Escorial. 
In conjunction with Pellegrino Tibaldi, Carducci 
painted the famous library; the former did the 
ceiling, the latter the walls, with allegories of the 
Sciences. A great portion of the fresco paintings 
in the cloister of the Escorial are by this master, 
and were so much admired by the king, that he 
rewarded him with two hundred ducats, independ- 
ent 5 his salary. His principal work, and that 

0 


which above all others established his reputation en 
in Spain, was the ‘Descent from the Cross,’ in the . 


Church of San Felipe el Real, at Madrid. After = 


the death of Philip II., Carducci continued some 
years in the service of his successor, Philip III., 
by whom he was engaged to paint a gallery in the 
palace of the Pardo. 
been the principal events in the life of Charles V. 
It was begun by Carducci, but he died before he 
had made any great progress in the work, in 1608. 
He was also an architect and sculptor. 
CARDUCCI, Vincenzo, (or CarpucHo,) the 
younger brother of Bartolommeo Carducci, was 
born at Florence in 1568. He was taken by his 
brother to Madrid in 1585, ‘at so tender an age 
that he grew up with very faint recollections of 
Italy, and learned to speak and write Castilian like 
his own mother tongue.” He was instructed in 
painting by his brother Bartolommeo, whom 
Vincenzo succeeded in 1609, as painter to the 
king, and Philip III. engaged him to finish the 
gallery in the palace of the Pardo, which had been 
begun by his brother. Instead of the life of 
Charles V. he adopted the history of Achilles, and 
finished the work to the entire satisfaction of his 
patron. He was also made court painter to 
Philip IV., his successor, by whom he was em- 
ployed in many considerable works. His pictures 
are to be seen in all the cities of Castile, in Sala- 
manca, Toledo, Segovia, and Valladolid. In 1626, 
he entered into an agreement to paint, for the Car- 
thusian Monastery at Paular, fifty-four large pic- 
tures in four years, but some of them bear date 1632. 
These works are now in the National Museum at 


Madrid ; they represent scenes from the Life of St. 


Bruno, and the history of his order. His works in the 
churches of Madrid are, the Great Chapel in the Con- 
vent of La Encarnacion; in the Convent Del Rosario, 
the ‘ Angel instructing Joseph in his dream to fly 
into Egypt,’ and ‘St. Anthony of Padua’; in the 
Refectory of the Franciscans, ‘St. John preaching.’ 


His last picture was a ‘St. Jerome,’ in the Church ~ 


of Alcala de Henares, which he did not live to finish, 
as appears by the inscription: Vincencius Carducho 
hic vitam non opus finit 1638. His death occurred 
at Madrid in that year. He was the author of 
‘Dialogos de las excelencias de la Pintura,’ printed 
at Madrid in 1633, which Cean Bermudez pro- 
nounces to be the best work on the subject in the 
Castilian language. Cean Bermudez possessed two 
etchings by Carducci—the ‘Death of Abel,’ and a 
‘Penitent Saint.’ Vincenzo Carducci strenuously 
opposed the then prevalent tax on paintings, and 
obtained in 1633 a royal decree for its remission 
when artists sold their own works, and four years 
later succeeded in causing its total abolition. The 
following pictures by him are in the Madrid Gallery : 


Battle of Florus. 
: From the Palace of 
Relief of Constance. \ Puen Rovien 


Taking of Rheinfeldt. 
Scenes from the Life of the Virgin. 
St. Bruno. 


CARDUCHO. See Carpvucct. 

CARESME, Pui.ipre, a French historical painter, 
was born in Paris in 1734, He was doubtless a 
pupil of Charles Antoine Coypel, and was admitted 
into the Academy whilst still young, but expelled 
eight years later in consequence of misconduct in 
some pecuniary transaction. In 1781, when a 
royalist, he composed an allegorical design in 
commemoration of the birth of the Dauphin, and 
in 1794, after he had become an ardent republican, 


The subject was to have 


a ET a ee ee 


eS 


4 + 
are 2) 


pa. een ee oe Pe 


“oA 


ze ay 2 
+7 he presented to the Commune of Paris a drawing 
_ representing Joseph Chalier, the tyrant of Lyons, 
going to execution: both of these have been en- 
_ graved. He also ee a large picture of the 
_ ‘Nativity of the Virgin’ for the Cathedral of 
Bayonne. Caresme died in Paris in 1796, There 

are in the Nantes Museum a ‘ Holy Family,’ and in 
____ the Bordeaux Museum a sketch of ‘ Bathers,’ dated 

1780. He engraved after his own designs, ‘The 

Execution of the Marquis de Favras, February 19th, 

1790,’ and‘ The Market-Women going to Versailles 
i £0 compel the King to return to Paris, Oct. 5th, 
i L890. 

~~ ~CARTANTI, Giovanni Bust. See Bust CARIANI. 

CARL XV., Kine oF SWEDEN AND Norway. 
_. See CHARLEs. 

CARL, ApboLtr, was a landscape painter of 
_ Altona, born in 1813. He began to learn painting 
as a student at Munich, but afterwards joined the 

school at Diisseldorf. His landscapes are distin- 
- guished by poetical conception, graceful form, and 
pleasant and harmonious colouring. Most of them 
‘are from scenes in the Tyrol or Northern Italy, 
the natural beauties of which he rendered in a 
very effective manner. His chefs-d’ceuvre are the 
‘Lake of Nemi’ and a ‘View on the Chiemsee.’ 
He died at Rome in 1845. 

CARLEVARIIS, Luca, (called Casanosrio and 
Luca pi CA ZENosRI0, from having been patronized 
by the Zenobri family,) a painter and engraver, 
was born at Udine in 1665. He painted land- 
scapes, sea-pieces, and perspective views ; his pic- 
tures are little known, exceptin Venice. A Coast- 
scene by him is in the Berlin Gallery; a View 
of the Doge’s Palace, Venice, is in the Dresden 
Gallery ; and another Venetian scene is in the 
Gallery at Copenhagen. We have by him a set of 
a hundred neat and spirited etchings of views in 
Venice, which give an exact representation of the 
principal places in that city. He died at Venice 
about 1731. 

-CARLIER, Jan WILEM, a Flemish painter, was 
born at Liége about 1638, and died there in 1675. 
He was a pupil of Bertholet Flémalle, and spent 
much of his life in France: but most of his works 
are at Dusseldorf and St. Petersburg. His chef- 
d’ceuvre is ‘The Martyrdom of St. Denis,’ now pre- 
served in the church of St. Denis, at Liége, the 
sketch for which is in the Museum at Brussels. 

CARLIER, Mopzstz, a Belgian portrait and 
subject painter, was born at Quaregnon near Mons 
in 1820. He was a pupil of Picot, and died in 
1878. In the Brussels Museum there ‘is a picture 
by him of ‘ Locusta experimenting with poison on 
a slave.’ 

CARLIERI, Atserto, was born at Rome, ac- 
cording to Orlandi, in 1672. He was first a scholar 
of Giuseppe Marchi, but afterwards was in- 
structed by Padre Andrea Pozzo. He excelled in 
painting architectural views, which he embellished 
with very beautiful historical figures. He died 

after 1720. 

_ CARLINI, Agostino, a painter and sculptor, was 
a native of Genoa, and went to London in early 
life. His work as a sculptor was much esteemed. 
He was one of the original members of the Royal 
Academy, of which he became keeper in 1783. 
He exhibited a portrait in oil in 1776. He died in 
London in 1790. 

CARLISLE, ANNE, was an English painter 
who lived in the time of Charles I., and is said by 
Walpole in his ‘ Anecdotes’ to have been admired 


a PAINTERS AND ENGRAVERS. 


for her copies of the works of the Italian masters, 
She died about the year 1680. 

CARLISLE, IsaBELLA Howarp, CouNTESS OF, 
the daughter of William, fourth Lord Byron, was 
born in 1721. She married, in 1743, Henry, fourth 
Karl of Carlisle, who died in 1758. In 1759, she 
married Sir William Musgrave, Bart., and died in 
1795. She made several good etchings; amongst 
others, copies of Rembrandt’s etchings. 

CARLO pett—E MADONNE. See Marari,. 

CARLONE, Anprga, the son of Giovanni Bat- 
tista Carlone, was born at Genoa in 1639. After 
receiving the instruction of his father for some 
time, he visited Venice, where he studied for 
a few years, and then returned to Genoa. His 
first productions were some pictures at Perugia, 
and the Life of St. Felician, in the church of 
that saint at Foligno. These, inferior in grace 
and colour to the works of his father, less happy 
in composition, and less elegant in design, were 
painted in a free, resolute, and vigorous style, with 
a mixture of the Venetian colouring. He went 
afterwards to Rome, where he changed his manner 
for one more noble and elevated, and so superior 
to his first, that Lanzi mentions it as an instance 
of the fallacy of forming a judgment of the 
merit of an artist by a partial view of his per- 
formances. ‘To judge of Andrea Carlone,” says 
that author, “by his works in the church of the 
Gest at Perugia, we could with difficulty be per- 
suaded that he was capable of producing those 
admirable pictures at Genoa, which Ratti numbers 
among the Genoese works of art most worthy of 
remembrance.” He died in 1697. A picture of 
the Magdalen by him is in the Uffizi, Florence. 

CARLONE, Carto, a painter and engraver, was 
probably of the family of the Carloni of Genoa. 
Fiissli, in his ‘Lives of the Swiss Painters,’ ob- 
serves that the family of Carloni, so fruitful in 
able artists, although generally ranged among the 
Genoese painters, may be legitimately claimed as 
originally of Switzerland. Carlo Carlone was born 
at Scaria, near Como, in the Milanese, in 1686. He 
was the son of a sculptor, who destined him for 
the same pursuit, but he preferred painting, and 
was placed under the care of Giulio Quaglio. He 
afterwards studied at Venice and at Rome, until he 
was twenty-three years of age, when he visited Ger- 
many, where he has left works in oil and in fresco 
at Ludwigsburg, Passau, Linz, Breslau, Prague, 
and Vienna. In the last-named city some of his 
allegorical representations may be seen in the 
Belvedere, as also a religious subject, dated 1721, 
on the dome of the chapel in the castle. He died 
at Como in 1776. Of his works as a painter little 
is known further than that he is said to have 
possessed an inventive genius and great facility. 
As as engraver he has left us the following plates, 
mostly from his own compositions : 


The Conception of the Virgin. 

The Holy Family, with St. John kissing the Foot of 
Jesus. 

St. Charles Borromeo communicating the Plague 
stricken. 

The Death of a Saint. it 

An allegorical subject of Opulence, for a ceiling. 

Another subject for a ceiling, a Figure with a Crown. 

A Group of Children, with a Basket of Flowers. 


CARLONE, GiIovaNNI, a native of Genoa, was 
born in 1590. He was the son of Taddeo Carlone, 
a sculptor and historical painter, who placed him 
under the tuition of Pietro Sorri, and he a 


A BIOGRAPHICAL DICTIONARY 0 


wards frequented the school of Domenico Pas- 
signano, at Florence. In that academy he became 
an able painter in fresco, and on his return to 
Genoa was much employed, and acquired a dis- 
tinguished reputation, not only in that city, but 
also at Rome and at Florence, where he after- 
wards travelled. He assisted his younger brother, 
Giovanni Battista Carlone, in the immense fresco 
work in the cathedral of the Guastato at Genoa, 
and was invited to Milan to paint the ceiling 
of the church of the Theatines, which he did not 
live to finish; it was completed by his brother. 
He composed his subjects with facility, was a 
correct designer, and a master of foreshortening. 
The airs of his heads, though somewhat mannered, 
are not without grace; and he united the intelli- 
gence of the chiaroscuro with a vigorous colour, 
perhaps more glowing than chaste. He died at 
Milan in 1630, 

CARLONE, Giovanni BATTISTA, an eminent 
painter, and the younger brother of Giovanni 
Carlone, was born at Genoa in 1594. He was also 
educated under Passignano at Florence, and after- 
wards joined his brother in the great works on 
which he was employed at Genoa. The chief 
result of their united exertions is to be seen in the 
cathedral of the Guastato at Genoa, where the 
three naves are painted in fresco by Giovanni 
Battista, assisted by his brother. In the middle 
and principal nave he has represented the ‘ Ador- 
ation of the Magi,’ the ‘ Entrance of Christ into 
Jerusalem,’ the ‘ Resurrection,’ the ‘ Ascension,’ the 
‘Descent of the Holy Ghost,’ and the ‘ Assumption 
of the Virgin ’—a magnificent work, in which he 
has introduced all that could be conceived by a 
rich and fertile imagination. Novel and copious in 
his compositions, his figures are of the most 
graceful contour, his heads expressive of every 
variety of animation and beauty, with a vague- 
ness, lucidity, and brilliancy of colouring that 
astonishes and charms. In the same church he 
painted ‘The Presentation in the Temple,’ and 
‘Christ preaching to the Pharisees.’ Giovanni Bat- 
tista lived to the advanced age of 86, and died in 
1680. 

CARLOTTO. See Loru, JoHAann CARL. 

CARLUCCIO bette MADONNE. See Mararri. 

CARMICHAEL, James WILSON, a marine 
painter, was born at Newcastle-on-Tyne about 
1800. From constantly seeing so much shipping, 
he obtained at an early age great accuracy of 
drawing in this line of art, and among his earliest 
paintings produced a very fine picture, ‘The 
Heroic Exploit of Admiral Collingwood at the 
Battle of Trafalgar,’ which was placed in the 
Trinity House, Newcastle. His name first appears 
as an exhibitor in 1838, when he contributed an 
oil picture, ‘Shipping in the Bay of Naples,’ to 
the Society of British Artists. He exhibited at 
the Royal Academy both in oil and water-colours, 
contributing among others, in 1841, ‘The Con- 
queror towing the Africa off the Shoals of Trafal- 
gar;’ and, in 1843, ‘The Arrival of the Royal 
Squadron.’ He was the author of the series of ‘Eng- 
lish Coast Views from the Mouth of the Thames 
to the Frith of Forth.’ He resided in his native 
town up to about 1845, when he removed to Lon- 
don, where he was already known as a skilful 
marine painter. At the commencement of the 
Russian war he proceeded on board one of her 
Majesty’s ships to the Baltic; and on his return 
several of the sketches made by him during his 

252 


absence were published as engravings in the — 
‘Illustrated London News.’ He afterwards re- — 
moved to Scarborough, where he died in 1868. 
He published ‘The Art of Marine Painting in — 
Water-Colours’ in 1859, and ‘The Art of Marine 
Painting in Oil-Colours’ in 1864. : tPeem 

CARMIENCKE, JoHann HERMANN, a landscape 
painter and etcher, was born at Hamburg in 
1810. He went to Dresden in 1831 as a journey- 
man painter, and while there studied in Dahl's 
school. Thence he went to Copenhagen in 1834, 
where he studied in the Academy, and presently 
repairing to Leipsic, received instruction there 
from Schonberg. Returning to Copenhagen in 
1838, he proceeded to travel as an artist in Sweden, ~ 
Bavaria, and the Tyrol, visiting Italy from 1845 
to 1846. He was then appointed court painter 
to Christian VIII., for whom he executed many 
works. In consequence of the war, he went in 
1851 to New York, where he was well received, 
and admitted into the Academy of Brooklyn. His 
works were mainly groups of mountain ranges, 
which were very effectively rendered, and pos- 
sessed an excellent tone—the execution being sim- 
ple and true to nature. The ‘Mountain Tarn’ and 
the ‘View on the Zillerthal’ may be particularly 
noticed. There are thirty-five careful etchings of 
landscapes by him, some of which were published 
by the Art Association of Copenhagen in 1850 and 
1851. He died at New York in 1867. 

CARMONA, Ana, was the daughter of the 
painter Raphael Mengs, and was born at Dresden 
in 1751. She married the Spanish engraver 
Manuel Salvador Carmona, and died at Madrid in 
1790. She produced some excellent portraits in 
pastel and miniature; that of her husband is in 
the Academy of San Fernando. 

CARMONA, MaAnuEL. See SALVADOR CARMONA. 

CARMONTELLE, Louis, originally Carroais, 
was a French amateur draughtsman and engraver, 
and the author of the ‘Proverbes dramatiques,’ 
who was born in Paris in 1717. He was the 
son of one Philippe Carrogis, a shoemaker, and took 
the name of Carmontelle, possibly to conceal his 
humble birth. He produceda considerable number 
of portraits of eminent persons of his day, which 
were mostly in profile, and highly characteristic. 
He-died in Paris in 1806. Carmontelle has left us 
an engraving of ‘ The Flower-Girl,’ after Boucher, 
and the five following portraits engraved after his 
own drawings: 

The Abbé Allaire. 

The Baron de Bezenval. 

The Duke of Orleans and his Son. 

Rameau, the Musician. 

Frangois Marie Arouet de Voltaire. 


CARNEIRO. See Sarva CARNEIRO. 

CARNICERO, AnrTonio, a painter, engraver, and 
etcher, was born at Salamanca in 1748. He was a 
son of the sculptor Alexandro Carnicero. He studied 
at Rome, and was eventually appointed painter in 
ordinary to the king. He issued in 1780 at Madrid 
an illustrated edition of ‘ Don Quixote,’ with engray- 
ings from his own designs, and in 1791 another work 
with portraits of celebrated Spaniards. There is 
by him in the Madrid Gallery ‘A Scene on the 
Lake of Albufera,’ and we have also by him an 
engraving of a bull-fight in Madrid, dated 1791. 
He died at Madrid in 1814. His brother Istporo 
was director of the Academy in 1800. 

CARNIO, ANTONIO, a native of Portogruaro, 
a district of Friuli, was the son of an artist little 


i 


a 
ie 


- Udine. 


1own, by whom he was instructed in the elements 
of art. He afterwards studied at Venice the 


_ works of Tintoretto and Paolo Veronese. Accord- 


ing to Lanzi, Friuli has not produced a greater 
aaloe than Carnio since the time of Pordenone. 
The composition of his historical subjects is in- 


fy - genious and novel, and his design lofty and bold. 


His colouring, especially in his carnations, is 
tender and harmonious. Some of his best works 
at Udine have been much injured by retouching. 
The best preserved is his ‘St. Thomas of Villa- 
nuova’ in Santa Lucia. He painted many easel 
pictures and portraits for the private collections at 
He was living in 1680. 

CARNOVALE, Fra. See CoRRaDINI. 

CARNOVALE, Domenico, was, according to 
Vidriani, a native of Modena, where he flourished 


about the year 1564. He excelled in painting 


architectural views, with figures, which he intro- 
duced with great propriety. He was also a reput- 
able architect. A specimen of his style may be 
seen in Rosini, plate xciii. Wonderful things are 
related of his skill in architectural painting, and 
of the illusion produced; the parallels are to be 
found in like stories recorded of Zeuxis and Par- 
rhasius. 

CARNULI, Fra Srmone DA, was a Franciscan 
monk of Genoa. He flourished about the year 
1519, and painted several pictures for his convent, 


two of which, representing ‘The Last Supper,’ and 


‘The Preaching of St. Anthony,’ possessed great 
merit; they are dated in 1519. His manner, with 
respect to his figures, is not quite divested of the 
dryness that prevailed at his time ; but he painted 
architectural designs and bird’s-eye views with 
small figures which are estimable for their aerial 
perspective. 

CARO, FRANcIsco, was the son of Francisco 
Lopez Caro, and born at Seville in 1627. He 
received his first instructions from his father, but 
afterwards went to Madrid and entered the school 
of Alonso Cano. According to Palomino his 
principal works are the pictures of ‘The Life of 
the Virgin,’ in the chapel of San Isidoro in the 
church of St. Andrew, and the celebrated ‘ Porciun- 
cula,’in the church of San Francisco at Segovia, 
both of which show considerable talent, and 
sustain the reputation of the school of Cano. He 
died at Madrid in 1667. 

CARO, Francisco Lopez. See Loprz Caro. 

CARO pz TAVIRA, JuAN, a Spanish painter, 
who flourished in the 17th century, was a native 
of Carmona and disciple of Zurbaran. He died 
young, but his early promise procured him the 
cross of Santiago from Philip IV. None of his 
works remain. 

CAROLI, BaLpAssaRE, was probably a pupil of 
Palmezzano, and a disciple of Rondinello, He 
lived in the 16th century, and was the author of 
a ‘Coronation of the Virgin, with Saints’ (amongst 
whom is St. Mercuriale), signed and dated 1512, 


. and now in the Communal Gallery of Forli. Other 


paintings by him can be seen in the churches 
of Forli and Ravenna. No dates are known as to 
his birth or death. 

CAROLIS, RarraELuIno DE. See CApPpont. 

CAROLSFELD, ScHnork von. See ScHNorR 
VON KAROLSFELD, 

CAROLUS, Lupovicus Anronius, a Belgian 
painter of historical and genre subjects, was born 
at Antwerp in 1814. He studied under Eeckhout 
and F. de Braekeleer, and from 1831 to 1834 


- PAINTERS AND ENGRAVERS. 


worked in the studio of E. Le Poitevin at Paris, 
whence he returned to Antwerp in 1836. He died 
in his native city in 1865. His pictures of the 
everyday life of the 15th and 16th centuries are. 
esteemed for their accuracy of costume and excel- 
lent colouring. 

CARON, ApotpHe ALEXANDRE JOSEPH, was a 
French engraver, born at Lille in 1797. He 
studied his art under Lair and Bervic, and won the 
first-class medal at the Salon of 1844. There is an 
engraving by him of Ary Scheffer’s picture of 
‘Faust and Margaret,’ but his best production is 
‘The Virgin, with St. Catharine and St. Rosa,’ 
after Perugino. He also engraved portraits of the 
Duchess de Berry and her children, after Gérard, 
and of Madame de Sévigné, after Devéria. He 
died at Clamart in 1867. 

CARON, Anroine, a French historical and por- 
trait painter, was born at Beauvais about 1515. 
In 1540 and in 1559 he was working at Fontaine- 
bleau under the orders of Primaticcio, and in 1573 
he executed the decorative paintings on the occa- 
sion of the entry into Paris of Henry, Duke of 
Anjou, the elected King of Poland, who in the 
next year became King of France. His pictures 
have all perished, but there still exists in the 
National Library at Paris a series of drawings by 
him known as the ‘ History of Artemisia,’ which 
represent scenes in the life of Catharine de’ Medici. 
He was one of the masters and the father-in-law 
of Thomas de Leu, the engraver, and died in 
Paris about 1593, aged 78. 

CARON, Jean Louis Toussaint, a French en- 
graver, was born in Paris in 1790. He studied 
under Coiny, Regnault, and Lignon. His best pro- 
ductions were ‘Le Famille Inaigente,’ after Prud’- 
hon, and ‘The Levite of Mount Ephraim,’ after 
Couder. He died in Paris in 1832. 

CARON, Nicouas, was an engraver born at 
Amiens in 1700. According to Heinecken he 
studied under Papillon, who had a high opinion of 
his powers. An accident led to his imprisonment, 
and he died in the Conciergerie in 1768, A por- 
trait of his master is to be found as a frontispiece 
to a work entitled ‘ Traité de la Gravure en Bois,’ 

CARONNI, Paoto, was an engraver born at 
Monza about 1779. He was one of Longhi’s best 
pupils, and produced many engravings of merit. 
He died at Milan in 1842. Amongst his plates 
may be noticed : 


The Vision of Ezekiel; after Raphael. 1825. 
Alexander and Darius; after Le Brun. 1818. 

Venus suckling the Infant Cupid ; after Parmigiano. 
Veuus stealing Cupid’s Bow; after Procaccint. 

The Virgin and Child; after Sassoferrato. 

The Triumph of David; after Domenichino. 

A Portrait of Raphael Morghen. 


CAROSELLI, AnetoLo, was born at Rome in 
1585. He studied under Michel Angiolo da Cara- 
vaggio, of whose works, as well as of those of 
other masters, he became a successful imitator. 
He possessed a talent of copying with astonishing 
precision, and in painting pasticct in imitation of 
various styles. His large works in the churches 
are § The Martyrdom of St. Placidus,’ and ‘St. Gre- 
gory celebrating Mass before a Concourse of 
People,’ in Santa Francesca Romana ; and ‘St. Wen- 
ceslaus’ in the Pontifical Palace of the Quirinal. 
His lesser works were chiefly portraits or paint- 
ings in which the figures were small, two speci- 
mens of which ma_ be seen in the Belvedere at 
Vienna. He died in 1653. eres 


q > we is a a — “& i ty Sexe eve r ey eae * oe a, 


A BIOGRAPHICAL DICTIONARY OF 0 
on the Mount,’ and ‘Christ invited to the Pharisee’s eauhe 3 


CAROT, —. According to Strutt this artist re- 
sided at Rome about 1585, and is the engraver of a 
small upright plate representing ‘St. Francis hold- 
ing a Cross.’ This is etched in a bold, spirited 
style, and appears to have been the production of 

: @ painter. 

CAROTTO, Giovanni, (or CAROTO,) was the 
brother of Giovanni Francesco Carotto, and his 
assistant. In San Paolo, Verona, is a ‘ Virgin and 
Child,’ signed and dated 1513, and the Museum of 
the same city possesses a ‘Madonna and Child, 
with SS, Lawrence and Jerome.’ The churches of 
San Giovanni in Fonte, and San Stefano, both in 
Verona, have also Madonnas, with Saints, by this 
artist. He lived to the age of about sixty, but no 
dates can be given of either his birth or death. 

CAROTTO, Giovanni FRANCESCO, (or CAROTO,) 
was born at Verona in 1470; he was first apprenticed 
to Liberale, but afterwards went to Mantua, where 
he entered Mantegna’s workshop, and closely imi- 
tated the style of that master. The Gallery of 
Modena possesses a ‘ Virgin and Child, with an in- 
fant John the Baptist,’ of that period, and similar 
subjects painted by him in these early years of 
his life are also to be found in the Museums of 
Frankfort and Berlin. Shortly before 1508 he 
returned to Verona, where he painted the fres- 
coes of the church of San Tommaso Cantuariense., 
The frescoes in the Spolverini Chapel, in Sant’ 
Eufemia, at Verona, representing scenes from 
the history of Tobit, are amongst his best produc- 
tions. He paid visits to both Milan and Casale, 
where, according to Vasari, he worked for the 
Visconti and Montferrat families. Many of the 
galleries and churches of Verona and Mantua pos- 
sess paintings by him; in San Giorgio, Verona, 
besides other paintings and frescoes, is a ‘Glory 
of the Virgin,’ signed and dated 1545. He died at 
Verona in 1546, 

CARPACCIO, BENEDETTO, who is considered by 
Lanzi to have been a relation of Vittore Carpaccio, 
lived in the 16th century. Of his birth and death 
no dates are known, but there are paintings by him 
existing executed from 1523 to 1541. The Cathe- 
dral of Capo d’Istria has a ‘ Massacre of the 
Innocents,’ dated 1523, and ‘ The Name of Christ 
adored by Saints,’ dated 1541 ; and in the Galleria 
Comunale of the same place is a ‘Coronation of 
the Virgin,’ dated 1537. 

CARPACCIO, ViTToRE, (or CARPATIUS,) is said 
to have been born about 1450 in Istria, but the 
documentary proofs are wanting. He has been 
called in contemporary records ‘ Scarpaza,’ and by 
Vasari ‘Scarpaccia.’ He was a follower of Gentile 
Bellini, and was employed at the school of San 
Girolamo, Venice, at the same period with Luigi 
Vivarini and Giovanni Bellini, but all pictures of 
this religious corporation have entirely disappeared. 
After 1490 he finished, in the school of St. Ursula, 
nine pictures taken from the life of that saint, all 
of which are now in the Academy of Venice, At 
the close of the 15th century he painted his 
‘ Patriarch of Grado casting out a Devil by the aid 
of the Relic,’ for the school of San Giovanni 
Evangelista. This picture gives an admirable view 
of old Venice, as it stood at the close of the 15th 
century; the date of its execution has been said 
to be 1494, but the written proofs are missing ; it 
is now in the Academy of Venice. In San Giorgio 
de’ Schiavoni (a Hospital for Seamen) are ten 
decorative canvases, with designs taken from the 
lives of SS. Jerome, Tryphon, and George, ‘ Christ 

254 


Feast,’ and analtar-piece, representing the Madonna, 
These pictures were painted by Carpaccio for the 


Hospital, re-erected in 1500, the designs being — 


completed in the years 1502—1508, In the last- 


named year he was chosen with Lazzaro Sebastiani — 
and Vittore di Matteo, by Giovanni Bellini, to — 


value the frescoes of Giorgione at the Fondaco de’ 

Tedeschi; and he soon afterwards executed his 

chef-d’ceuvre of ‘The Presentation in the Temple,’ 

for San Giobbe, now in the Venice Academy. In 
the years 1511—1515 he finished for the school of 
San Stefano ‘The Calling of St. Stephen,’ of 1511 

(now in the Berlin Gallery) ; ‘St. Stephen preach- 

ing’ (at the Louvre) ; ‘St. Stephen disputing with 

the Doctors,’ of 1514 (at the Brera, Milan) ; and 

‘The Martyrdom of St. Stephen,’ of 1515 (now in 

the Gallery of Stuttgart). He painted in 1515 a 

design representing ‘ The Indulgence of St, Mark,’ 

for the Great Council Hall that was burnt in 1577. 

He executed in 1514 a large altar-piece for San 

Vitale, Venice, which represents ‘St. Vitale on 

Horseback, attended by his wife Valeria, and 

Saints’; and in 1515 he finished for the Prior of 
Sant’ Antonio of Castello the altar-piece of ‘ Cruci- 

fied Saints,’ now inthe Venice Academy. In 1519 

were painted the two altar-pieces of Madonnas and 

Saints in the Cathedral at Capo d’Istria, and the 

church of Pozzale, near Cadore, After this date 

no further works of his are known, and it is pro- 

bable that his death occurred soon after 1522. 
Many paintings by this artist still exist; amongst 

those not mentioned above are : 


Berlin. Gallery. _ Madonna and Child with Saints. 
Cheshire. Brocklebank } Christ and four Disciples (signed). 


Ferrara. Museum. Death of the Virgin. 1508. 
Florence. Uffizi. a es Finding of the True 
Toss. 5 

Frankfort a M. Madonna. 

London. Jat. Gall. Virgin and Child, with Saints, 
adored by the Doge Giovanni 
Mocenigo. 

Milan. Brera. St. Stephen preaching. 


Pp - Presentation and Marriage of the 
Virgin. 
i Poldi Pezzoli. Samson (?). 
Paris. Louvre. St. Stephen preaching. j 
Stuttgart. Museum.  Glorification of St. Thomas Aqui- 
nas. 1507. 
As Martyrdom of St. Stephen. 
St. Vitale. St. Vitalis on Horseback, adoring 
the Virgin. 1514. 
Meeting of St. Anne and St. 
Joachim, 1515, — 
Cure of a lunatic, the Rialto in 
the background. 
_ Museo Correr. Visitation. 
_ . Two Courtesans. 
» Palazzo Ducale. The Lion of St. Mark in a Land- 
scape. 1516. 
The Annunciation. 1504. 
Christ adored by Angels. 1496. 


”? 
Venice. 
- Academy. 


99 ” 


Vienna. Gallery. 


39 ”? 


CARPENTER, Margaret Sarau, who was the 
daughter of Captain Geddes, was born at Salis- 
bury in 1793. She first studied art from Lord 
Radnor’s collection at Longford Castle, and com- 
peted successfully, for two or three years, for the 
prizes at the Society of Arts, obtaining on one 
occasion the gold medal. She went to London in 
1814, established herself as a portrait painter, and 
secured great reputation. In that year she first 
exhibited at the Royal Academy a portrait of Lord 
Folkestone, and at the British Institution the ‘ For- 
tune-Teller’ and ‘Peasant Boy.’ In 1817 she 


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_ and Drawings in the British Museum, upon whose 

_ death, in 1866, Her Majesty conferred upon her a 
_ pension of £100 per annum. She died in London 
In 1872. Mrs. Carpenter is chiefly known as a 
_ painter of portraits, amongst which may be men- 
tioned those of , 

Lord Kilcoursie and Lady Sarah de Crespigny, 1812. 
Lord Folkestone, 1814. Mr. Baring, 1815. Sir Henry 
Bunbury, 1822. Lady Eastnor, 1825. Lord de 

-Tabley, 1829. Mr. Justice Coleridge, 1830. Lady 
Denbigh, 1831. Mrs. Herries, 1832. Lady King, 
daughter of Lord Byron, 1835. Archbishop Sumner, 

_ 1852, Lord John Manners. Dr. Whewell. 


Her portraits of Richard Parkes Bonington, the 
painter, John Gibson, R.A., the sculptor, and 
Patrick Fraser Tytler, the historian, are in the 
National Portrait Gallery. She also produced a 
few fancy subjects, of which there are two ex- 
_ amples in the South Kensington Museum—‘ Devo- 
__ tion’ (a portrait of Anthony Stewart, the miniature 
_-__— painter), exhibited at the British Institution in 
, 1822 ; and ‘The Sisters,’ portraits of the artist’s 
two daughters, exhibited in 1840. 

CARPENTERO, Jonannes Carous, a Flemish 
historical painter, born at Antwerp in 1784, studied 
under Van den Bosch and Mattheus van Bree. 
Besides historical pictures, he painted landscapes 
with cows and sheep, taking Ommeganck for his 
model. He died at Antwerp in 1823; 

CARPENTIERS, Aprien, (or CHARPENTIDRE,) 
was a native of Switzerland who settled in England 
| a portrait painter about 1760, and from that year 
_ until 1774 was a frequent exhibitor at the Society 
of Artists in Spring Gardens. One of his best 
- works is the portrait of Roubilliac, the sculptor, 
—_ now in the National Portrait Gallery, of which 
___ there is a good mezzotint by David Martin. He 
. died in London about 1778, at an advanced age, 

CARPI, GrroLamo DA, was born at Ferrara in 
| 1501, and was educated under Benvenuto Garofolo., 
On leaving the school of that master, he passed 
some time at Bologna, where he was much em- 
ployed in portrait painting. He afterwards visited 
_ Parma and Modena, where he was so fascinated 
; with the works of Correggio and Parmigiano, that 
he applied himself to study and copy them with 
great assiduity. He is not, however, to be con- 
sidered only as a copyist. He painted many 
pictures, of his own composition, for the churches 
at Ferrara and Bologna. At Ferrara, in the Cathe- 
dral, are three pictures by him of the Madonna, 
St. George, and St. Maurice. At the Carmelites 
is his picture of ‘St. Jerome ;’ and in Santa Maria 
del Vado one of his finest works, representing a 
‘Miracle wrought by St. Anthony of Padua.’ For 
the church of San Francesco, at Rovigo, he painted 
a picture of the ‘ Pentecost ;’ and at Bologna his 
two most celebrated productions, the ‘ Adoration 
of the Magi,’ for San Martino Maggiore, and 
the ‘Madonna and Child, with St. Catharine and 
other Saints,’ for San Salvatore. In the two last 
he displays a mixture of the Roman and the 
Lombard styles. He also painted for some 
time in Rome. He died at Ferrara in 1556. The 
Dresden Gallery possesses a ‘ Venus and Cupid,’ by 
him, 

CARPI, Marco pa. See MELONI. 

CARPI, Uaco DA, a painter and engraver, de- 
scended from the ancient family of the Counts of 
Panico, was the tenth child of Count Astolfo da 
Panico. The year of his birth is uncertain. In the 


ce, tay PAINTERS AND ENGRAVERS. 
ied Mr. W. H. Carpenter, Keeper of the Prints 


petition to the senate of Venice, in 1516, to grant 
him protection from piratical imitators of his prints, 
he is said to be in advanced age, venuto all’ etd senile, 
which induces Passavant to put the date of his 
birth, which has been usually stated to have taken 
place in 1480, back to 1450. He died probably in 
Rome in 1520. 

Vasari styles him a mediocre painter, but great 
in drawing ; and although there exists an agreement 
between Carpi and Saccacini to execute an exten- 
sive work between them, no authentic paintings 
remain from his hand, his celebrity resting entirely 
on his wood-engravings, which were executed by 
successive printings from various blocks of different 
shades, by which were produced completer effects 
than those of ordinary woodcuts. This was called 
chiaroscuro, a name still given to it, and was in 
fact a simple form of our modern chromo-printing. 
Carpi claimed in his petition to the Doge and Senate 
to have been the inventor of the method, but as no 
example by him exists with a date to compete with 
the chiaroscuro issued at Augsburg by Jost de 
Necker in 1510, and his claim was only made in 
1516, he seems to have no certain claim to the inven- 
tion. The more the subject is investigated, the more 
certain it seems that all forms of engraving, as of 
printing, originated in Germany. His works are 
numerous, and are confused with those of Boldrini. 
His known works are after Raphael and Parmigiano ; 
sometimes they are of a large size. As, however, 
they are not signed, and are identified with diffi- 
culty, it is not necessary to enumerate many. 

Descent from the Cross; after Raphael. 

St. John in the Wilderness ; after the same. 


The Miraculous Draught of Fishes ; after the same. 

Death of Ananias ; after the same. 

Elymas struck with Blindness ; after the same. 

A Sibyl reading, with a Child holding a torch to light 
her ; after the same. <A rare print, copied by Coriolano 
as one of a set. 

Diogenes ; after Parmigiano. 

SS. Paul and Peter; very small; after the same. 


See ‘Di Ugo da Carpi e dei Conti da Panico,’ 
Bologna, 1854, by Gualandi; Passavant, vol. vi. ; 
Bartsch, vol. xii. W. B.S. 

CARPINONI, Domenico, a Bergamese painter, 
was born at Clusone, in the Valle Seriana, in 1566. 
He was sent to Venice when young, and became a 
scholar of the younger Palma. In the early part of 
his life he was occupied in copying the works of 
Palma and Bassano; he afterwards painted some 
pictures of his own composition, which, according 
to Tassi, are vigorously coloured, and tolerably 
correct in design. In the principal church of 
Clusone is a picture by him of the ‘Birth of St. 
John the Baptist,’ and a ‘ Descent from the Cross ;’ 
in the Chiesa di Monesterolo, in the Valle Caval- 
lina, is a picture of ‘ The Transfiguration ;’ and at 
Lovere, in the church of the Padri Osservanti, ‘The 
Adoration of the Magi.’ He died in 1658. 

CARPINONI, Marziatz, the grandson of Do- 
menico Carpinoni, was born at Clusone about 1644. 
According to Tassi, he was taught the first prin- 
ciples of art by his father, an artist of little note, 
but afterwards had the advantage of the instruc- 
tion of his grandfather. He was afterwards sent 
to Rome for improvement, where he frequented the 
school of Ciro Ferri. He painted historical sub- 
jects with no small success, and was employed for 
the churches of his native town and the vicinity. 
In the principal church at Clusone is the ‘ Virgin 
and Child, with Saints,’ by this painter, and ‘The 

255 


A BIOGRAPHICAL DICTIONARY OF 


Baptism of Christ by St. John;’ and in the cathe- 
dral at Bergamo, SS. Domno, Domneone, and 
Eusebia. He also painted several pictures for 
the churches in Brescia. He died at Ferrara in 


1722. 

CARPIONI, Canto, the son of Giulio Carpioni, 
was born about the middle of the 17th century. 
He was educated by his father, after whose style 
he painted a few pictures, but he is better known 
by his portraits. In the Council-chamber at Vi- 
cenza and in the convent of the Servites at Monte 
Berico there are some groups of portraits of magis- 
trates, which show a truthful resemblance, and an 
ingenious and elevated imagination. 

CARPIONI, GivLto, was born at Venice in 1611. 
He was a scholar of Alessandro Varotari, called 
Paduanino, but followed more the style of Can- 
tarini. He was superior to his fellow-student 
Maffei in vigour, expression, and invention. He 
painted history and bacchanals, and also sacred 
subjects of a small size, many of which are to be 
seen in the churches in the Venetian states. His 
fabulous subjects are placed with distinction in the 
private collections of his country, and are touched 
with a spirit, and coloured with a beauty of tint- 
ing, which his master would not have disavowed. 
Paintings by him may be seen in the Galleries of 
Augsburg, Dresden, Vienna, Modena, and Florence. 
He was also an etcher; his best plates being ‘St. 
Anthony of Padua,’ ‘Christ on the Mount of 
Olives,’ ‘The Virgin reading,’ and ‘The Virgin 
with the Rosary.’ He died at Verona in 1674. 

CARR, JoHNSON, a pupil of Wilson, was born in 
1743. He gave promise of being a godd landscape 
painter, when he died in 1765. His chalk drawings 
possess considerable merit. 

CARR, R, practised as an etcher, in imitation of 
Hollar, in England, towards the close of the seven- 
teenth century. 

CARR, Rev. Witt14m HoLweELi, who was born 
in 1750, and died in 1830, practised landscape 
painting as an amateur; he exhibited occasion- 
ally at the Royal Academy from 1797 till 1820. 
He bequeathed thirty-three paintings to the 
National Gallery, including his own portrait by 
Jackson, and a fine picture by Luini. 

CARRACCI FAMILY, 


Antonio (tailor).——Lodovico (1555—1619).——Paolo. 


| | 
Agostino (1557—1602). Annibale (1560—1609). Giovanni Antonio. 
Antonio Marziale (1683—1618). Francesco (1595—1622). 


CARRACCI, AGosTINo, painter, engraver, poet; 
the nephew of Lodovico, and the elder brother of 
Annibale Carracci, was born at Bolognain 1557. He 
was intended by his father for the business of a 
goldsmith, a profession then nearly connected with 
the art of engraving, and at the age of fourteen he 
had engraved some plates in the style of Cornelis 
Cort, when Lodovico persuaded him to study paint- 
ing. He became a scholar of Prospero Fontana, 
and he afterwards studied under Bartolommeo 
Passerotti, On leaving the school of Passerotti, 
Agostino, together with his brother Annibale, 
passed some time at Parma, where they studied 
with attention the works of Correggio and Parmi- 
giano. He afterwards went to Venice, where he 
had an opportunity of perfecting himself in en- 
graving under Cornelis Cort, by whose instruction 
he became one of the most distinguished engravers 
of his country. Excellent as a designer, he fre- 
quently corrected the defects in the drawing of the 
— 256 


= keg AY DC I) 
ek 


pictures he engraved, for which he sometimes re=- 
ceived the thanks, but more usually the reproaches, 


of the painter. On his return to Bologna, in 1589, 


stimulated by the reputation Annibale hadalready _ 


acquired, he devoted himself to painting with inde- 
fatigable assiduity, and, assisted by the instruction 
of Lodovico, his advancement was such that he 


was engaged in all the considerable works in which | 


they were then employed in the Magnani and 
Zampieri palaces. He instructed the scholars in the 
Academy in the theoretical branches of painting, 
and also wrote for their edification a sonnet, 
wherein he tells them what characteristic quality 
to choose from each of the great masters, 
at this time that he painted for the Certosa at 
Bologna his famous picture of the ‘ Communion 


of St. Jerome,’ now in the gallery of that city. It 


is one of the very few paintings which bear his 
signature. Annibale being soon after engaged to 
visit Rome, to paint the Farnese Gallery, he was 
accompanied by Agostino, whose resources and 
poetical genius were of the most essential service 


in the composition of those fabulous subjects to — 


which the unlettered mind of Annibale would have 
been inadequate. ' 

These aids were not sufficiently appreciated by 
Annibale, whose vivacious and turbulent disposition 
produced continual dissensions, and Agostino, after 
he had executed the ‘Triumph of Galatea,’ and 
the ‘ Cephalus and Aurora,’ was obliged to abandon 


him, and to leave Rome. He went to Parma, where _ 
he was employed by Duke Ranuccio to paint the 


great saloon of the Casino, the finishing of which 
he did not long survive. He died at Parma, in 


1602, The following are the principal works of 


Agostino Carracci: 


Bologna.  Pinacoteca.The Last Oommunion of St. 
Jerome (his master-piece). 
he The Assumption. 

Gallery. Hagar and Ishmael. 

Nat. Gal. Cephalus and Aurora. 

Triumph of Galatea. 

Both original cartoons for the 
Srescoes in the Farnese Palace, 
Rome. . 

Pinakothek. St. Francisreceiving the Stigmata. 
Gallery. St.Francis receiving the Stigmata. 

St. Dominic. 

Female Portrait. 
dated. 1598. 


As an engraver, Agostino Carracci is to be ranked 
among the most celebrated artists of Italy. The 
correctness of his design is only equalled by the 


” 
Cassel. 
London. 

” by) 


Munich. 
Vienna. 
” 99 
39 93 


Signed and 


beauty of his execution, and his plates would — 


have nearly reached perfection, if he had paid 
more attention to the effect of chiaroscuro, They 
appear to have been executed entirely with the 


graver, in a bold, free style, nearly resembling ~ 


that of his instructor, Cornelis Cort. The expres- 
sion of his heads is admirable, and his extremities 
are marked with the greatest care. His plates are 
very numerous; they are generally marked with the 
initials A. C. or AUG. F. or Agos. C., and some- 
times with his name abbreviated. They are not 
difficult of recognition. The following are his 
principal prints : 


PORTRAITS AND SUBJECTS FROM HIS OWN DESIGNS. 


Antonio Carracci, his father; very scarce. 
Bust of Cosmo I. with ornamental figures. 
The Head of a Woman; fine. 

Portrait of a Lady with a collar of pearls. 
Giovanni Tommaso Costanzo. 

Princess Christina of Lorraine. 


It was — 


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PYNINIBALE CARRACCI 


Brogi photo| [Uffizi Gallery, Florence 


THE ARTIST, BY HIMSELF 


Pee DACAAR ACC! 


[ Vatican, Rome 


CHRIST IN GLORY IN THE CLOUDS 


Tiziano Vecelli. 1587. 

Eve giving the Apple to Adam, 1581. 

‘The Virgin and Infant Jesus. 

The Repose in Egypt. 

3 ate pe in the Clouds, giving the Scapulary to a 

aint. 

_ The Virgin seated on a step, with St. Joseph, the Infant 

i Jesus, St. John, and an Angel; scarce. 

_ The Good Samaritan ; proofs before the letter are very 

rare. The impressions with the name of Bertelli are 
retouched. 

The Crucifixion, with two Females, one representing 

Christianity, the other Judaism. 

The Resurrection. 

The Confraternity of the Sacred Name of God. (The 
Pope and the Senate of Venice kneeling before the 
Virgin.) 1582. 

St. prpoale of Assisi receiving the Stigmata; Agos. Car. 
1586. ~ 

The Cord of St. Francis. (St. Francis distributing cords 

__ toanumber of persons of different orders.) 1586. 

St. Jerome kneeling at the entrance of a cave. There 

' are impressions of this plate, which are very scarce, 
in which it is only three parts finished, the rest being 

_ slightly sketched with a single stroke. The plate 
was afterwards finished by his pupil Villamena. 

Seventeen plates of free subjects, called in Italy ‘ Le Las- 
civie dei Carracci.’ 

Two other amorous subjects. 

A Landscape with naked figures. 

A Landscape with the same, and in the distance a 
Dance. 

Cupid conquering Pan; Omnia vincit amor. 1599. 

Perseus combating the Monster. - 

Frontispiece for the work called Cremona /idelissima 
This book, which is very scarce, contains thirty-five 
portraits. engraved by Agostino Carracct. 


SUBJECTS AFTER VARIOUS MASTERS. 


A Child blowing Bubbles ; after Goltzius ; very scarce. 
Jacob watering the Flocks of Rachel; after D. Calvaert. 
5 


1581. 

Judith ; half-length; after Lorenzo Sabbatini. 

The young Tobit conducted by the Angel; improperly 
ewe Raffaelle d’ Urbino; it is after Raffaelle da 

eggi0. 

ae Presentation in the Temple ; ¢fter Orazio Sammac- 
chini. 

The Virgin and Infant Christ giving the Keys to St. 
Peter; after the same. 

The Adoration of the Magi; after B. Peruzzi. 1579. 

The Virgin and Infant, with the Magdalen, St. Jerome, 
and an Angel; after Correggio. 1586. 

The Ecce Homo, with the Virgin and other figures; 
after the same. 1587. 

The Adoration of the Magi; after Marco del Moro. 

The great Crucifixion ; after Tintoretto ; in three sheets. 

The mocking of Christ; after V. Strada, 

The dead Christ, supported by an Angel ; half-length ; 
after the same. 

The Pieta; after the sculpture of Michelangelo Buon- 
arrott. 

The Nativity of the Virgin ; after Andrea del Sarto. 

The Virgin Mary crowned by the Trinity; after A. 
Mostaert. 

The Holy Family ; after Barocei. 

The Holy Family, with St. John ; after Raphael. 

The Holy Family, with St. Michael; after L. Sabbatini. 

The Virgin with the Crescent, and the Infant Jesus 
giving the Benediction; after the same. 

The Holy Family, with St. Anthony and St. Catharine; 
after Paolo Veronese. 

The Virgin taking under her protection two Monks; 
after the same. 

The Marriage of St. Catharine ; after the same. 

The Martyrdom of St. Justina; after the same ; in two 
sheets. 

The Trinity; after Titian. 

The Virgin and Infant Jesus, with several Saints; after 
Giulio Campi. 

St. Paul resuscitating Eutychus; after Antonio Campi. 

The Holy Family reposing in a Landscape; after B. 
Passeri. 

8 


Sere eee 


PAINTERS AND ENGRAVERS, 


St. Sebastian ; after Francesco Raibolini. 

The Virgin suckling the Infant Jesus; after J. Ligozzi, 

St. Jerome ; half-length; after Vanni. 

St. Jerome, with the Lion, regarding the Virgin in the 
Clouds; after Tintoretto. 1598. 

The Temptation of St. Anthony. 1582. As this print 
is without a name, it has been sometimes attributed 
to Cornelis Cort. 

Mercury and the Graces; after Tintoretto. 

Wisdom, accompanied by Peace, driving away the God 
of War ; after the same. 

Mneas carrying his Father Anchises; after Barocet. 


CARRACCI, ANNIBALE, was born at Bologna in 
1560. His father, who was a tailor, at first brought 
him up to his own trade, but the boy’s natural abili- 
ties and the advice of Lodovico induced Antonio 
Carracci to let his son study in the atelier of his 
uncle. Thus Lodovico was Annibale’s first and only 
instructor in art. In 1580, Annibale left Bologna 
and went to Parma, where he studied the works of 
Correggio and Parmigiano, He was joined at Parma 
by his brother Agostino, who after a short time 
left Annibale to go to Venice, where they again met 
and lived together for some time. After an ab- 
sence of about seven years he returned to Bologna, 
where in 1589 the Carracci opened their academy. 
He assisted Lodovico in his paintings in the 
Magnani, Fari, and Zampieri palaces. About 1600, 
Annibale was invited to Rome by Cardinal Odoardo 
Farnese to decorate the Farnese Palace. He was 
assisted by his brother Agostino, by Domenichino, 
and by Lanfranco. The Farnese Palace occupied 
about four years of the prime of Annibale’s life. 
For this immense work (in which Poussin declares 
that he surpassed not only himself, but every 
painter who preceded him, and which is generally 
admitted to be his most important work) he received 
but five hundred crowns. These frescoes display 
the greatest technical excellence in drawing, both 
of drapery and the nude, in modelling and in 
colour, But it is to be regretted that Annibale, 
who was averse to literary studies, and consequently 
ignorant of history and fable, was obliged to have 
recourse to the acquirements of others, and the 
natural result was that he could not feel the poetry 
of his subject so sensibly, or correctly, as if it had 
emanated from his own mind. Annibale was in 
complete possession of his art, when the subject 
did not go beyond the limit of his comprehension. 

After a visit to Naples, Annibale Carracci died 
at Rome in 1609, and was buried near Raphael in 
the Pantheon. 

The most celebrated easel picture by Annibale 
was formerly in the Orleans Gallery, at the sale 
of which it fetched 4000 guineas, the highest price 
reached by any picture in that famous collec- 
tion. It is now at Castle Howard. It represents 
the Saviour taken down from the Cross, extended 
in the lap of the Virgin, who is fainting, Mary 
Magdalene deploring the death of her Divine 
Master, whilst Mary (the wife of Cleophas), and 
another of the holy women, are succouring the 
mother of Christ. Of the beauties of this ad- 
mirable production, any description that could here 
be attempted would be quite inadequate ; it must 
be seen to be felt. The awful manner in which 
this solemn subject is represented, fills the mind of 
the beholder with the most affecting emotions. It 
has been very finely engraved by Roullet. 

Annibale’s excellence as a painter of landscape 
ought not to be left unnoticed ; he did not confine 
himself to the backgrounds of his historical sub- 


jects, but painted several pictures in Na 


figures are only accessory, and to which we have 
nothing superior in grandeur of scenery, in the 


choice of forms, in aérial tints, and in spirited 
execution. He also painted genre pictures, as 
‘The Greedy Eater,’ in the Colonna Palace at 
Rome. The following are his principal paintings ; 


Berlin, Gallery. Holy Family. 
7 A Landscape. 

And many others. 

Madonna adored by six Saints. 
1593. 

Madonna enthroned, with Saints. 

Annunciation. 

Assumption. 1592, 

Tobias. 

Hercules. 

The Three Maries. 

Portrait of Himself. 

Portrait of Domenichino, 

The Genius of Glory. 

Assumption of the Virgin (dated 
MDLXXXVII). 

Madonna enthroned with Saints 
(signed HANNIBAL CARRACTIVS 
BON F MDLXXXVII1). 

S. Roch distributing Alms, 

Virgin and Child with the Swal- 
low. 

And others. 

A Bacchante. 

Portrait of Himself. 

Christ adored by Saints. 

Christ appearing to Simon Peter 
after his Resurrection. 

St. John in the Wilderness, 

Landscape, with figures. 

Landscape, with figures. 

Erminia taking refuge with the 
Shepherds. 

Silenus gathering Grapes. 

Pan teaching Apollo to play on 
the Pipes. 

The Temptation of St. Anthony 
in the Desert. 

», Bridgewater Gal. St, George in Prayer. 


Bologna, Pinacoteca. 


99 ” 
9 99 


?? 
Cassel. 


Castle Howard. 


Gallery. 


Darmstadt. Gallery. 
Dresden. Gallery. 


Uffizt. 


* Pitti Pal. 
London. Nat. Gal. 


Florence. 


Milan. Brera. Christand the Woman of Samaria. 
Modena. Museum. Venus. 
Munich. Pinakothek. Susannah and the Elders, 

56 oa A Pieta. 
Naples. Museum. A Pieta. 

As * Satyr and Bacchante. 

Pr ° Holy Family. 

And others. 

Paris Louvre. Birth of the Virgin. 


‘La Vierge aux Cerises.’ 

The Sleep of the Infant Christ. 
(‘ Le Silence du Carrache.’) 
The Virgin appearing to St. Luke 

and St. Catharine (s7gned ANNI- 
BAL CARACTIVS F. MDXCII). 
Preaching of St. John the Baptist. 
A Pieta. 
Christ at the Tomb. 
The Resurrection (stgned ANNIBAL 
CARRATIVS PINGEBAT MDXCIII). 
The Magdalen. 
Martyrdom of St. Stephen. 
And many others. 
Petersburg. Hermitage. Anointing the dead Christ. 
Holy Family. 
Pieta. 
The Women at the Sepulchre, 
Christ and the Three Maries, 
His own Portrait. 
A Sleeping Maiden. 
nf Landscape. 
Borghese Pal. Deposition of the Cross, 
* St. Francis. 
Colonna Pal. The Greedy Eater. 
Farnese Pal, Ceiling—Triumph of Bacchus and 
Ariadne. 1600—1604. 
os Madonna del ' : 
Popolo. Assumption, 


dj Vienna, Gallery, 


ee as 
ack : Pas 
The Descent fro 
Christ and — 

Samaria. = © — 
Entombment. aie 


St. Francis in Ecstasy. ont 


By the hand of Annibale Carracci we havea 
twenty plates, partly etched, and finished with the 
graver, in which the great master is strongly 
marked. They are: ee Gaps ean 

The Virgin suckling the Infant Jesus; oval == 

The Virgin supporting the head of the Infant Jesus 

sleeping. idee PN s) 

The Virgin and Child, with St. John presentinga Bird. 

The Adoration of the Shepherds. . es 

ee vee of the Porringer, giving drink to St. John. 

606. | Dee. 

The Holy Family; Anni. Car. in. fe. 1590. 

The Crucifixion ; Anj. jn Fe. 1581. . Lie 

The Dead Christ in the lap of the Virgin, called the __ 

Caprarola Christ. 1597. ee: 

Christ crowned with Thorns; Annib. Carracius inet = 

fecit. 1606. | 

St. Jerome with spectacles ; half-length. — 

St. Francis with a Crucifix and a Skull, 

Apollo playing on the Lyre, with Pan. 

Jupiter and Antiope; 4. C. 1592. | ne 

Silenus, a Faun, and a Satyr, called the Salver of 

Aunnibale. eas i 

Acis and Galatea, with a Satyr. 

Susanna and the Elders ; very scarce. 

The Triumph of Bacchus (doubtful). 


CARRACCI, ANTONIO MarziAazz, a natural son 
of Agostino Carracci, was born at Venice in 
1583. He was educated by his father and by 
his uncle, Annibale Carracci, whom he accom- 
panied to Rome when he went to paint the Far- 
nese Gallery. Aided by Annibale’s instructions, 
and endowed with much natural genius, he soon 
became a skilful designer, and was taken into the 
service of Cardinal Tonti, who employed him in 
the decorations of his chapel in the church of San 
Bartolommeo nell’ Isola, where he painted several 
frescoes taken from the ‘Life of the Virgin,’ and the 
‘Passion of Christ.’ The chapel of St. Charles 
Borromeo was ornamented by him with a picture __ 
representing that saint communicating the plague- — 
stricken. He also painted a frieze in one of the 
rooms of the Pope’s palace at Monte Cavallo. His 
works are rarely met with, The Marquis of Lans- 
downe possesses a ‘ Virgin and Child’ by him, In 
the Louvre is a picture of ‘The Flood’; in the 
Modena Gallery, ‘Christ healing a Blind Man’; 
and in the Belvedere, Vienna, a ‘ Lute-Player.’ 
He was greatly attached to Annibale, attended on 
him in his last moments, and gave him a splendid 
funeral in the church of the Rotunda, near the 
tomb of Raphael. Antonio died at Rome in 
1618. : 

CARRACCI, Francesco, called FRANCcESCHINO, 
the son of Giovanni Antonio, and a nephew 
of Agostino and Annibale Carracci, was born 
at Bologna in 1595. He was brought up by 
Lodovico, and soon displayed great talent for art. — 
He painted a ‘ Virgin adored by Saints’ for Santa 
Maria Maggiore, Bologna, and a scene from the life 
of St. Roch in the Oratory of San Rocco. Hesub- 
sequently set up an opposition school to that of 
Lodovico, and called it the ‘“‘True School of the 
Carracci” ; but not meeting with the patronage he 
expected, he left Bologna, and went to Rome, 
whither he transplanted the “ True School of the 
Carracci.”” He died, however, in poverty, at Rome 
in 1622, There are a few plates engraved by this 
artist from the designs of Lodovico and Annibale, 
which are marked Ff C., or F. CS. 


5 


9 9? 


”? 9 


x 


LODOVICO CARACCI 


) 
. 


. Alinari photo| 
| THE MADONNA AND CHILD, ANGELS AND SAINTS 


[Bologna Gallery 


Virgin and Child, inscribed Deipare wmago a divo 
Luca pict., §e. . 

_§t. Charles Borromeo, kneeling. 

_ A winged Angel pointing to a Skull. 

© asd ao of Semiramis, Lucretia, Artemisia, 
oe Portia. “aeige 


i ‘ ) 
-_ CARRACCI, Lonovico, the real founder of the 
_____ Kelectic school, was born at Bologna in 1555. The 
+ two masters whom he had chosen, Fontana of 
Bologna and Tintoretto of Venice, counselled him 
____ to abandon the career of an artist, considering him 
___ incapable of ever succeeding in it; and his fellow- 
___ students called him ‘the ox,” on account of the 
slowness and heaviness of his mind, and also be- 
cause of his continual, determined, and indefatig- 
able application. He painted afterwards under 
Passignano, and also studied the works of Andrea 
del Sarto, at Florence; at Parma he was impressed 
by the pictures of Correggio and Parmigiano, and 
at Venice by those of Titian. On his return to 
Bologna, Lodovico Carracci opened in 1589, in con- 
junction with his two nephews, Agostino and Anni- 
bale Carracci, an Academy ‘degli Desiderosi”’ 
(‘‘ Those who regret the past, despise the present, 
and aspire to a better futuie”’), which was kept by 
the three together until 1600 (when the two brothers 
went to Rome), from which time till 1619, the year 
of his death, it was maintained by Lodovico alone. 
Soon after its opening, this academy acquired such 
renown that all establishments of a like nature 
in Bologna were closed: and Lodovico Carracci’s 
fame rests rather on his teaching than on the works 
he himself executed. The Carracci reckoned 
amongst their pupils, Albani, Guido Reni, Domeni- 
chino, Lanfranco, Spada, and Tiarini. The fres- 
coes which Ludovico executed with the assistance of 
pupils in 1602, in San Michele in Bosco in Bologna, 
representing the ‘Life of St. Benedict,’ and the 
‘Life of St. Cecilia,’ have perished. The follow- 
ing are his principal existing pictures : 


Berlin. Gallery. Miracle of the Loaves and Fishes. 

Bologna, Palazzo ) History of Romulus and Remus 
Magnani (fresco; painted in conjunction 
Gudotti.) with Annibale and Agostino). 


a S. Gregorio. St. George and the Dragon. 

Be The Annunciation. 

pe Pinacoteca. The Transfiguration. 

Madonna of the Bargellini Family. 
Birth of St. John the Baptist. 


” ” 
” 39 


= on And others. 
Florence. OO His own Portrait. 
Parma. useum. Burial of the Virgin. 
Milan. Brera. Christ with the Woman of Canaan. 
Modena. Museum. Flora. 
bs “ Galatea. 
= 9 The Assumption. 
Paris. Louvre. The Annunciation. 
PES gs es Virgin and Child. 
us Ps Pieta. 
pi a Appearance of the Virgin to St. 
Hyacinthe. 
Rome. Doria Pal. Ecce Homo. 
London. Nat. Gal. Susannah and the Elders. 


By Lodovico Carracci we have a few engravings 
from his own designs; they are etched in a free 
and masterly style, and finished with the graver. 
He generally marked his plates with the initials 
I. C. or LO. C. We hare by him the following: 

Samson overcoming the Lion; L. C. F. 

The Virgin and Infant Jesus, with four Angels, half- 

length. 

The Virgin suckling the Infant Jesus, half-length ; dod. 

Carr. in. f. 

as te Family, with the Virgin washing Linen; 

mri es 


§2 


and | 


PAINTERS AND ENGRAVERS. 


Another Holy Family ; 1604. 

Another Holy Family under an Arch. 

The Frontispiece to the Poems of Cesare Rinaldi. 

A Thesis, with the Arms of Bonfigliuoli, with Mercury 
and Hercules. . 


CARRACCI, In Gopso pz’. See Bonzi. 
CARRACCINO, In. See Muinari, Giov. ANT. 
CARRACCIOLO. See Caraccroxo. 

CARRARI, BALDASSARE, was a native of Ra- 
venna, who flourished about the year 1512. Lanzi 
places him amongst the pupils of Niccold Ron- 
dinello, and considers that his principal and most 
celebrated production is his picture of ‘St. Bar- 
tholomew,’ in the church of San Domenico at 
Ravenna. When Pope Julius II, visited that city 


‘in 1511, he declared that the altars of Rome did 


not possess a finer painting than that work. A‘ Ma- 

donna and Child with Saints’ by him, in the Brera, 

Milan, originally hung in San Domenico, Ravenna. 
CARRE FAMILY. 


Franciscus (1630 (?)—1669). 


| | 
Beet (1658—1721). Michiel (1666—1728). 


| | | 
Abraham (1694—1758-59). Hendrik (1696—1775). Johannes (1698—1772). 


CARRE, ABRAHAM, was the son of Hendrik 
Carré, and was born at the Hague in 1694, ana 
died there in 1758 or 1759. He painted small por- 
traits and cabinet pictures, and was an excellent 
copyist of the works of the more distinguished 
Dutch masters, in which occupation he was much 
employed by the dealers, who sold his copies as 
originals. ‘Two of his brothers, HENDRIK CARRE, 
who was born at the Hague in 1696 and died there 
in 1775, and JOHANNES, who was born at the Hague 
in 1698 and died there in 1772, were also painters, 
though but little is known of them. 

CARRE, FRANCISCUS, was a painter born in Fries- 
land about 1630. It is not known who was his in- 
structor, but he grew to be sufficiently esteemed to 
be appointed first painter to the Stadtholder William 
Frederick. He excelled in painting landscapes 
and village festivals, but his works are little known 
out of his own country. He left an etching of the 
funeral catafalque of the Stadtholder. He died at 
Amsterdam in 1669. 

CARRE, Henprix, was the elder son of Fran- 
ciscus Carré, and was born at Amsterdam in 
1658. After studying the art under Juriaen Jacobsz 
and Jacob Jordaens for some time, the Princess of 
Orange gave him a commission in her regiment, and 
he served some years in the army, being present at 
the siege of Groningen in 1672. He afterwards 
resumed painting at Amsterdam with much success. 
Examples of his work, which is in the style of 
Berchem, can be seen in the Chateau of Ryswick 
and in the Gallery at Brunswick. He died in 1721. 

CARRE, MicuIzt, was born at Amsterdam in 1666. 
He received his first instructions from his elder 
brother Hendrik Carré, and afterwards became the 
scholar of Nicolaas Berchem, but unfortunately did 
not profit by the example and practice of so excel- 
lent a master, but preferred to follow the style of a 
much inferior artist named Gabriel van der Leeuw. 
Houbraken states that Michiel Carré resided some 
time in England, and that his works were not popu- 
lar here, but Horace Walpole makes no mention 
of him in his ‘ Anecdotes.’ He was a landscape 
painter of some celebrity, since at the death of 
Abraham Begeyn he was invited to Berlin by the 
King of Prussia, who appointed him one oe his 

3] 


_ A BIOGRAPHICAL DICTIONARY 


painters. On the death of Frederick he returned 
to Holland, and resided chiefly at Alkmaar, where 
he died in 1728. His greatest merit was the un- 
common facility and boldness of his pencil, which 
was well suited to the works upon which he was 
principally engaged, the decoration of halls and 
large apartments. One of his, best productions is 
to be seen in a saloon at the Hague, where he has 
represented in a large landscape the ‘ History of 
Jacob and Esau.’ Some of his easel paintings, 
landscapes with cattle, are very good. Examples 
of these can be found in the Brunswick Gallery, and 
the Rotterdam Museum. . 

CARRENO DE MIRANDA, Juan, an eminent 
Spanish painter, was born at Aviles, in the Asturias, 
in 1614. He learned painting at Madrid under 
- Pedro de Las Cuevas and Bartolomé Roman, and 
_ improved himself in design and colouring by study- 
ing the works of Velazquez and Van Dyck. His 
talents recommended him to the patronage of 
Philip IV., who employed him in some important 
fresco works in his palaces. Besides his commis- 
sions from the king, he painted a number of pictures 
for the churches, and Palomino gives a long account 
of his works at Madrid, Toledo, Alcala de Henares, 
Segovia, and Pamplona. At Madrid, in conjunction 
with Francisco Rici, he painted the celebrated 
cupola of San Antonio de los Portugueses, and’ a 
fine picture of the ‘Magdalen in the Desert,’ in the 
convent of Las Recogidas. His colouring was in 
tenderness and suavity perhaps superior to that 
of any painter of his country except Murillo. He 
was retained as painter to the court under Charles 
II., and died at Madrid in 1685. Healso executed 
several etchings. 

The following are some of. his best paintings : 


Berlin. Gallery. Portrait of Charles II. of Spain, 
1673. 
Paris. Louvre. St. Ambrose giving Alms. 


A Priest with the Consecrated 
Host. 


CARRETTI, DomeEntco, was, according to Aver- 
oldi, anative of Bologna. It is not stated by whom 
he was instructed, but during a long residence at 
Brescia, he painted many small historical pictures 
for private collections. He was also employed for 
the churches. His most esteemed work is a picture 
of the ‘Virgin with the Infant Jesus and St, 
Theresa,’ in the church of San Pietro in Oliveto, 

CARREY, Jacquss, a French painter, was born 
at Troyes in 1649, and became a pupil of Le 
Brun. In 1673 he accompanied the Marquis de 
Nointel in his embassy to Constantinople, taking 
sketches of the most remarkable scenes and objects, 
from which he afterwards painted pictures. In 
1674 he visited Greece and made for the Marquis 
de Nointel the priceless drawings of the Parthenon, 
now in the Bibliothéque Nationale at Paris, which 
have been so highly praised by M. Beulé. /They 
were reproduced and published in 1848 by the 
Marquis Léon de Laborde, under the title ‘ Le Par- 
thénon, documents pour servir & une restauration.’ 
The Louvre possesses a series of drawings by him 
representing the ‘Supplice du Pal,’ and in the 
Bordeaux Museum are two pictures of Turkish 
ceremonies, Carrey died at Troyes in 1726. 

CARRICK, Tuomas, a native of Carlisle, removed 
to London and soon became popular for his mini- 
atures. Many eminent personages sat to him, and 
he exhibited at the Royal Academy occasionally 
from 1841 till 1860. He died in 1874. 

260 


Vienna. Academy. 


2s ere 


i 


a) ee? Ech cane ‘\ 
? MT pe = at * ie * . 
OFS; par ree 


CARRIER, Avcusre Joszrx, a French pain 
was born in Paris in 1800. He was a pupil 


rat 
Sg ack Ree 


Gros, Prud’hon, and Saint, and evinced much talent iat 


in the painting of miniatures, but in his later years 
he devoted himself almost entirely to landscapes. _ 
He died in 1875, aS ae 

CARRIERA, Rosas, better known by her 
Christian name alone, was a daughter of Angelo 
Carriera, a native of Chioggia, who held various — 
official posts in the latter days of the Venetian 
Republic. She was born at Venice on the 7th 
of October, 1675, and at an early age showed her ~ 
artistic talent by making designs for point-lace. 
This she continued to do until the fashion changed, 
when she was advised by Jean Stéve, a Frenchman 
then residing at Venice, to turn her attention to the 
decoration of snuff-boxes, a branch of art in which 
he excelled. She then became a pupil of Giannan- 
sonio Lazzari, a distinguished amateur, and after- 
wards of Giuseppe Diamantini and Antonio Bales- 
tra, but her style was mainly inspired by the works 
of Pietro Liberi, She at first painted in oil, but it | 
is to her miniatures, and above all to her crayon 
portraits, that her great reputation is due. Elected 
in 1705 a member of the Academy of St. Luke at. 
Rome, and in, 1720 a member of the Academy of 
Bologna, the Grand-Duke Cosmo III. requested her 
to contribute her own likeness to the famous col- 
lection of painters’ portraits executed by their own 
hands in the Uffizi Gallery at Florence. The 
Florentine Academy likewise enrolled her among 
its members. In 1720 she visited Paris in company 
with her mother, her sisters Angela and Giovanna, 
and the Venetian painter, Antonio Pellegrini, whom 
the elder of her sisters had married. Rosalba 
stayed in Paris nearly a year, during which time ~ 
she executed the portraits of ‘Louis XV. , then a 
boy of ten years old, the Regent, and many nobles 
and ladies of the French court. ° Crozat, Mariette, 
the Comte de Caylus, Watteau, Rigaud, Largilliére, 
Coypel, and other distinguished amateurs and 
artists eagerly sought her society and her works, 
and the Royal Academy of Painting elected her 
by acclamation. Her diary, kept during her stay 
in Paris, contains details of much interest respect- 
ing the brilliant society of the Regency. It was 
published by the Abbé Vianelli in 1793, and was 
both reprinted in Italian and translated into French 
in 1865. Rosalba was then forty-five years of age, 
and had never been pretty, yet she charmed every 
one by the grace and modesty which set off her 
rare talent. Returning to Venice in 1721, her . 
pencil found constant employment, for scarcely a 
traveller of distinction passed through that city 
without carrying away with him his own portrait 
or some fancy head. In 1723 she visited the court 
of Modena, and in 1730 that of Vienna, and the 
Elector of Saxony, afterwards Augustus III., King 
of Poland, purchased many of her works. Ten 
years before her death her sight failed, and she 
died at Venice on the 15th of April, 1757. Her 
works are still admired, although no longer com- 
pared with those of Correggio, for the delicate 
tints have now faded, and the faulty drawing and 
affected style become but too apparent. 

The Dresden Gallery possesses 143 of her works, 
including portraits, and sacred and other subjects, 
the chef-d’ceuvre being the head of Metastasio. 
The Louvre has five of her drawings, among which 
is the half-length crayon drawing of a ‘Muse 
crowned with Laurel,’ which she presented on her 
reception at the Academy. There are drawings 


ROSALBA CARRIERA 


CALLED 


ROSALBA 


| 


(Louvre, Paris 


AS LADY 


PASTEL 


Bat | PAINTERS AND ENGRAVERS. 


er at Venice, Chioggia, and Padua, and in 
he Galleries of Turin, Florence, Copenhagen, and 


b ‘St. Petersburg. 


- Rosalba’s youngest sister, GIovANNA CaRRIERA, 


painted miniatures, assisted her sister in the back- 


Ne Bye 
ag CARRIERE, ANTOINE FULCRAND, a French litho- 
graphic artist and pupil of Ingres, was born at 


grounds and draperies of her drawings, and died 
R. EF. G. 


St. Afrique (Aveyron) in 1804. He executed a 


___ series of portraits of generals of the First Empire, 
and died at Agen in 1856, 


CARROGIS, Louts. See CARMONTELLE. 
~CARRUCCI, Jacopo, (or Carucct,) called Jacoro 
DA PonToRMo (or, more correctly, PuNToRMo), was 
born at Pontormo, in the Florentine state, in 1494. 


- His parents dying before he was thirteen years of 


age, he was taken to Florence by a relation, who, 
perceiving his inclination for art, placed him in the 
school of Leonardo da Vinci, under whose tuition 
he remained only till 1512, but who, nevertheless, 
influenced his style of painting; he afterwards 
became successively the scholar of Piero di Cosimo 
and of Mariotto Albertinelli. Whilst he was a dis- 
ciple of Albertinelli, he painted a picture of the ‘An- 
nunciation,’ which excited the greatest admiration, 
and being shown to Raphael, was considered by 
that great painter as an uncommon effort of genius 


_ for a juvenile performance. When about eighteen 


years of age he became a pupil of Andrea del Sarto; 
and some of his early productions having received 
the most marked commendation from Buonarroti. 
the illiberal disposition of his instructor con- 
ceived an unworthy jealousy of his powers, and he 
is said to have dismissed him from his academy. 
This ungenerous treatment only served as a stimu- 
lus to his exertions ; and it was not long before he 
met with considerable occupation. One of his 
first productions, on leaving Andrea del Sarto, was 
a picture of the ‘Visitation of the Virgin to St. 


Elizabeth,’ for the convent of the Annunziata, 


which disputed the preference with many of the 
works of Del Sarto. He was not less successful in 
his ‘ Holy Family with St. John,’ painted for the 
church of San Michele, at Florence; and his pic- 
ture of ‘St. Augustine giving the Benediction,’ with 
a beautiful choir of angels, in the church of San 
Clemente. It is surprising that, with the posses- 
sion of such powers, he should have degraded his 
talents by stooping to a servile imitation of the 
style of Albrecht Diirer, from whose prints the 
compositions in the series of pictures which he 
painted for the cloister of the Carthusians at 
Florence are undisguisedly copied. His fresco 
work at Pozzio a Caiano is perhaps the most 
original and appropriate in Italy, and a proof of 
his ability to do really excellent work. His last 
works were the frescoes he painted in the chapel 
of San Lorenzo, representing the ‘ Deluge’ and 
the ‘Last Judgment,’ which, from his indecision 
and want of energy, occupied him eleven years, 


Great expectations had been formed of this im- 


portant undertaking; but when the results were 
exposed to public view, they were found to be 
totally unworthy of his reputation; and it is perhaps 
fortunate for his fame that they have since been 
obliterated. He did not long survive this mortify- 
ing failure, and died at Florence in 1557. Asa 
portrait-painter Carrucci is worthy of much praise. 
The following are some of his best works: 

Berlin. Gallery. Portrait of Andrea del Sarto. 
Florence. Uffizi. Madonna and Saints. 


Ufizt. | Venusand Cupid (from a design 
by Michelangelo). 
ae ane and Eve driven from Para- 
ise. 
figs * Martyrdom of St. Maurice. 
“4 % Birth of St. John. 

~ Portrait of Cosmo I. de’ Medici. 

i Academy. The Disciples at Emmaus. 1525. 

anes \ Madonna with Saints. 

S. Felicita. Descent from the Cross. 

Pitti Pal. Martyrdom of Forty Saints. 

Portrait of Ippolito de’ Medici. 


Florence. 


99 ”? 
London. ‘Nat. Gal. Joseph in Egypt. 
Panshanger. Three pictures. 
Paris. Louvre. Holy Family. 
as Portrait of an Engraver of Gems, 


99 
Pozzio a Caiano. Decorative Fresco. 


Pontormo. St. John and St. Michael, 
Vienna. Gallery. Portrait of a Youth. 
Volterra. Cathedral. Descent from the Cross. 


CARS, JEAN Francois, was a French engraver, 
born at Lyons in 1670. His father, Frangois Cars, 
was an engraver of no great repute, to whom we owe 
a portrait of Joseph Tobias Franc, drawn in 1681. 
Jean Francois worked at Lyons for some years, 
but eventually repaired to Paris, where he died 
in 1739. He had a brother, Francois Cars, like- 
wise an engraver, who died in Paris in 1763, aged 
eighty-three. The works of Jean Frangois Cars 
are not considered equal to those of his more 
famous son. His plates are sometimes marked 
J. F. Cars, but more frequently, J. F. Cars, fils. 
We have by him the following portraits : 

Nicolas, Superior of the Order of Capuchins at Lyons; 
engraved at Lyons, 1694, Francois Blouet de Camilly. 
Cardinal de Polignac; after Rigaud. Archbishop 
Neufville de Villeroi; after Grandon of Lyons. 
Bishop Dominic St. Clair. Louis Auguste, Prince 
de Dombes. Louis, Vicomte d’Aubusson. Prince 
Henri La Tour d’Auvergne. 1699. Archbishop Charles 
La Berchére. 1702. Cardinal Archbishop Le Camus. 
1703. Pierre de Séve. 
mont. 1706. Louis XIV.; engraved at Lyons, sold 
at Paris, marked J. F. C. 

CARS, LAURENT, was a French designer and en- 
graver, born at Lyons in 1699. He was the son of 
Jean Frangois Cars, who took him when quite 
young to Paris, where it was not long before he dis- 
tinguished himself. In 1733 he was received as an 
Academician upon his portraits of Michel An- 
guier and Sébastien Bourdon. Cars, who was the 
master of Beauvarlet, may be considered as one of 
the best French engravers of the 18th century, in 
the kind of subjects he selected. He died in Paris 
in 1771. His best plates are those engraved after 
Lemoyne, particularly that of ‘Hercules and 
Omphale,’ and the series of illustrations after 
Boucher’s designs to the Comedies of Moliére, and 
after Oudry to the Fables of La Fontaine. His work 
is extensive ; the following are his principal plates: 


PORTRAITS, 


Louis XV., an allegorical portrait; after Lemoyne. 
Louis XV., an allegorical portrait; after Boucher. 
Stanislaus, King of Poland; after Van Loo, Michel 
Anguier, sculptor; after Revel. Cardinal Armand 
Gaston de Rohan; after Rigaud. Marie Leszczinska, 
Queen of France; after Vun Loo. Francois Boucher, 
painter; Jean Baptiste Chardin, painter; Madame 
Chardin; after Cochin, fils. Mlle. Camargo, dancing ; 
after Lancret. Mlle. Olairon, in the part of Medea. 


SUBJECTS AFTER VARIOUS MASTERS. 


The Adoration of the Shepherds; The Flight into 
Egypt; after Van Loo. Bathsheba at the Bath; 
Susannah and the Elders; after De Troy. Adam 
and Eve in Paradise; Hercules and Omphale; Per- 


261 


1706. Archbishop de Gram- . 


seus and Andromeda; The Sacrifice of Iphigenia ; 
Hercules and Cacus ; Iris at the Bath; Cephalus and 
Aurora; The Rape of Europa; Time discovering 
Truth; after Lemoyne. Silence; L’Aveugle trompé ; 
after Greuze. The Fortune-teller; The Venetian 
Festival; A Convoy of Equipages; after Watteau. 


CARSTENS, Asmus JAcoz, was an historical 
painter born at Sankt Jiirgen, Schleswig, in 1754. 
He displayed considerable natural inclination for 
drawing and painting at quite an early age, and 
this was increased by the impression produced on 
him by the picture in the cathedral at Schleswig, 
painted by Juriuen Ovens, a pupil of Rembrandt. 
Endeavours were made to place him with Tischbein 
at Cassel, but these were unsuccessful, and he was 
accordingly apprenticed to a wine-merchant at 
Eckernforde. After spending five years in that 
capacity, during which his leisure hours were always 
being devoted to drawing and portrait-painting, he 
went to Copenhagen in 1776, where the artistic trea- 
sures of the Royal Gallery made such an impression 
upon him that he resolved at all cost to become a 
painter. He took at once to studying the antique, 
not indeed by copying, but by impressing the image 
on his mind by contemplation, which resulted in 
his obtaining an extraordinary facility in drawing 
the round when treating the human figure. He 
also learnt something of anatomy, but he did not 
go to the Academy, as his mind already evinced 
some repugnance to the academical course of train- 
ing, and he preferred to train himself by making 
his own attempts at composition, by books, by 
engravings, and by the friendly assistance of other 
artists. His first large work was the ‘ Death of 
Aischylus,’ soon followed by another on a larger 
scale, ‘Adolus and Ulysses,’ which was exhibited, 
and met with a most favourable reception. Mean- 
time he entered the Academy with a view to ob- 
taining the means of visiting Italy. But this, 
nevertheless, seems to have been his object rather 
for the sake of appearances, and the obtaining it a 
matter of the greatest indifference to him, as he 
had to retire from it in consequence of having 
declined to receive the silver medal awarded to 
him, on the ground of there having been some 
unfair act in the way the Directorate had treated 
another member. In fact, he rejected with contumely 
proposals made to him subsequently to canvass for 
the great prize, which had a six years’ maintenance 
in Italy attached to it. He then left Copenhagen 
to satisfy his desire of visiting Rome at the expense 
of his scanty savings. He started in 1783, but did 
not get beyond Mantua, where the paintings of 
Giulio Romano in the Palazzo del Té produced a 
profound impression upon him; but he was com- 
pelled by lack of funds to return to Germany. 
He then settled in Liibeck, where he maintained 
himself by painting portraits. However, he had 
by this time seen Giulio Romano’s works, Leonardo 
da Vinci's ‘ Last Supper,’ and something of Swiss 
scenery, and his imaginative powers had thus re- 
ceived new ideas—ideas which he now began to 
express in allegories of his own, as well as in com- 
positions after Homer, Aischylus, Ossian, and 
Klopstock. 

After nearly five years spent in Libeck he had 
the good fortune to make the acquaintance of a 
wealthy amateur, who placed him in such a position 
that he was able to visit Berlin in 1787. At that 
place, as he was following out his determination to 
paint no more portraits, he was at first in very 
straitened circumstances, until the success of a 


262 


vs Me he 


A BIOGRAPHICAL DICTIONA 


ah) Vu oe 
Sap te Fen ecay 


composition he exhibited, entitled | ‘The - lle 
Angel,’ a design showing extraordinary power of © 
imagination, led to his appointment as professor at 
the Berlin Academy. Amongst his works at this — 


uA 


time, next to Plato’s ‘Symposium,’ whichis oneof 
his finest, were the ‘ Battle of Rossbach,’ and the: ag 
design for an ‘Equestrian Statue of Frederick the 


Great. But previously, the decoration of an apart- — 


ment with mythological subjects to the order of — 


the Minister of the day, Heinitz, had brought him > 
to the height of his wishes. 
its being opened the artist was presented to the 

king, and he shortly afterwards received a stipend 

enabling him to visit Rome. It was in the summer ~ 
of 1792 that he made the journey, halting for a 
month in Florence, where he produced a fine com- 

position in his ‘ Battle of the Centaurs and La- 

pithe,’ and reached Rome in September. There he 
studied more especially the works of Michelangelo ~ 
and Raphael. His first work from his own design 
at Rome was the ‘Argonauts and Chiron,’ a work 
in which the purity of style and the beauty of the 
forms manifested the advance which he was making 
by sojourning at Rome. In 1795 he had a public 

exhibition of his works, and the judgment of con- 
noisseurs, who, were amazed at the skill he dis- 
played, and at the extent of the powers of his 
imagination, was so favourable and so flattering | 
that he considered he should be able to maintain 
himself for the future at Rome. Nor were his 
expectations delusive. His pictures found pur- 
chasers as well as admirers, and a troop of brave 
artists flocked round him. That exhibition, in fact, 
marks the second revival of modern art at the 
close of the past century. 

The following two years witnessed the produc- . 
tion of numerous masterly compositions after 
Lucian, Philostratus, Homer, Ossian, Sophocles, 
Pindar, Dante, and Goethe, as well as a series of © 
excellent designs from the history of the Argo- 
nauts, and from that of Cidipus, as given by So- 
phocles. The last of these represented ‘The 
Golden Age,’ one of the most powerful and grace- 
ful productions of the artist’s fancy. About this 
time he was seized with an attack in the chest, 
which defied all remedies, and he died at Rome in 
1798. 

Notwithstanding certain imperfections in his 
drawing and style, and in spite of the violent 
opposition he met with, Carstens was the founder 
of the new German school of painters, for which 
he opened the road—a road that was trodden by 
the foremost German artists with extraordinary 
success. Wachter, Kock, Schick, Genelli, and 
Thorwaldsen, and even the great Cornelius himself, 
were practically his followers, Of Carstens’s works 
many are in private collections, the best assemblage 
being in the ducal cabinet at Weimar; there may 
be seen, amongst numerous specimens, two espe- 
cially deserving of notice—‘ Homer before the 
assembled Greeks’ (engraved by E. Schiffer), and 
‘Megapenthes ’ (engraved by Julius Thater). 

CARTARO, Mario. See KarTarus. 

CARTEAUX, Jean Francois, a French general, 
was born at Aillevans (Haute-Saéne) in 1751. 
He was in early life a pupil of Doyen, but is better 
known as a soldier than as. an artist, Bonaparte 
having served under his orders at the siege of 
Toulon in 1793. He died in Paris in 1813. ‘There 
is an equestrian portrait of Louis XVI. by him at 
Versailles. 

CARTER, ELLEN, whose maiden name was 


On the occasionof 


_ VAYASEUR, made illustrations for the ‘ Gentleman’s 

a eae and other periodicals. She died in 
CARTER, Gores, an artist of considerable 
merit, is known as the painter of ‘The Death of 

Captain Cook,’‘ The Fisherman’s Return,’ and other 
_ popular works, which have been engraved. He 
died in 1786. 

_ CARTER, Gzorce, who was born at Colchester, 
was an exhibitor at the Royal Academy in 1775, 
when he sent ‘A Wounded Hussar on the Field of 
Battle.’ He afterwards painted ‘The Dying Pil- 
grim,’ ‘The Siege of Gibraltar,’ and many por- 
traits. He died at Hendon in 1795. 

CARTER, James, a line-engraver, was born 
in the parish of Shoreditch in 1798, and evincing 
r a taste for art, was articled to the architectural 
engraver Tyrrel, While yet quite a youth, he 
gained the silver medal of the Society of Arts. 
After he had served his time to Tyrrel, he aban- 
doned the style of engraving he had learned in 
the studio of his master, and adopted landscape 
and figures, in which he made great progress, 
but without any other instruction than that he had 
already received, so that he might almost be called 
self-taught. In 1840 he essayed to publish a work 
on ‘ Windsor Castle,’ but failed in his attempt 
from want of the necessary support. He engraved 
some plates after Prout and others for the ‘ An- 
nuals’ when those ephemeral productions were 
in vogue, as well as some for the ‘ Vernon Gallery ’ 
series in the ‘Art Journal,’ and for other works 
on Architecture, &c. Amongst the engravings 
executed by him were E. M. Ward’s great picture 
of ‘Benjamin West’s first Essayin Art,’ ‘ Wells 
Cathedral,’ ‘Santa Pavilo,’ and the ‘Arc de Tri- 
omphe in Paris.’ One of his later engravings was 
‘The Temple of Jupiter at Aigina,’ for a work 
by C. R. Cockerell, R.A. He died in 1855. 

CARTER, Jonny, who is chiefly known as an 
architectural draughtsman, was born in Ireland in 
1748. He was the author of several works on archi- 
tecture, and executed an immense quantity of draw- 
4 _ingsand sketches. From 1774 to 1786 he produced 
i. the designs published in the ‘ Builder’s Magazine,’ 
% and for upwards of twenty years was employed 
by the Society of Antiquaries as their draughts- 
x: man. His connection with the ‘Gentleman’s 
_~—~—s Magazine’ lasted from 1798 until nearly the close 
4 of his life. He occasionally exhibited at the 
‘e- Royal Academy, and at his death, which occurred 
4 in London, in 1817, he left no less than twenty- 
7 eight large folio volumes of sketches of architec- 
a. tural antiquities, which were sold by Sotheby in 
5 1818. . 
ae CARTER, Wixii1am, was an English engraver, 

who was born about the year 1630. He was a 
1% pupil of Hollar, whose style he most successfully 
ip imitated, and whom he probably aided in his works. 
P His engravings are mostly vignettes and orna- 
, mental book-plates. The plates in Ogilby’s trans- 
lation of ‘Homer’ were engraved by Carter. His 
plates, which are sometimes marked W. C., were 
mostly executed about the year 1660. 

CARTIER, Vicror Emits, a French painter of 
animals and landscapes, was born at Versailles 
in 1811, and died in Paris in 1866. The Museum 
of Orleans has by him a picture representing ‘ A 
Bull frightened by a Serpent.’ 

CARTWRIGHT, Joun, a portrait-painter, exhi- 
bited at the Royal Academy from 1784 to 1808. 

CARTWRIGHT, Joseru, exhibited marine sub- 


. 
| 
| 
| 


PAINTERS AND ENGRAVERS. 


jects at the Royal Academy and the Society of 
British Artists from 1824 to 1829. He was ap- 
pointed marine painter to the Admiralty in 1828, 
and died in the following year. 

CARTWRIGHT, Wituiam, was an English en- 
graver of portraits and other book-plates, His 
name is affixed to a portrait of Thomas Cranmer, 
Archbishop of Canterbury, after Holbein. It is 
inscribed, Celarif. Gu. Cartwright. 

CARUCCI. See Carrucct. 

CARUELLE p’ALIGNY, CziaupE Francois 
THKODORE, a French landscape-painter, was born 
at Chaumes (Niévre) in 1798. He went to Paris 
in 1808, studied painting under Regnault and 
Watelet, and made his début in 1822 with an his- 
torical landscape on the subject of ‘Daphnis and 
Chloe ;’ and this style of art, now much neglected, 
he constantly followed. He obtained a medal of 
the first class in 1837, and the decoration of the 
Legion of Honour in 1842. His‘ View of Genaz- 
zano, Environs of Rome,’ and ‘ View of Royat, 
France,’ were sent by the French Government to the 
International Exhibition of 1862. Aligny died at 
Lyons in 1871, while holding the post of Director 
of the Ecole des Beaux-Arts. Among his most 
important works may be cited: 

Amiens. 


Besancon. 
Bordeaux. 


Museum, The Good Samaritan. 1834, 
Museum, Christ at Emmaus. 1837. 
Museum. The Infant Bacchus educated by 
the Nymphs of Naxos. 1848. 
Caen. Museum. Death of Du Guesclin. 1838. 
Carcassonne. Museum, Hercules and the Hydra. 1842. 
Nantes. Museum. The Entrance of the Village of 
Corpo di Cava, between Naples 
and Salerno. 
Paris. S.-Paul.-S.-Lowis.Landscape, with Baptism of Christ. 
S. Etienne-du- Two Landscapes with Biblical sub- 
Mont. jects. 
Museum. Landscape, with a Monk at Prayer. 
8 


2? 


Rennes. 


He likewise etched a series of ten views of the 
most celebrated sites of ancient Greece. 

CARUS, CarL Gustav, a German painter, who 
was born at Leipsic in 1789 and died at Dresden 
in 1869. He is represented in the Dresden Gallery 
by two landscapes. 

CARVALHO, the name of a painter of the 
16th century, probably Portuguese, whose signature 
is on a ‘St. Catharine’ in the Madrid Gallery ; it 
was formerly in the Convent of Los Angelos at 
Madrid, and is his only known work. 

CARVER, Ricuarp, a native of Ireland, practised 
there as a landscape-painter in the middle of the 
18thcentury. He afterwards removed to London, 
and became director of the Incorporated Society 
of Artists, to whose exhibitions he occasionally 
contributed. 

CARVER, Rosert, a son of Richard Carver, and 
a native of Ireland, was known as an excellent 
scene-painter towards the close of the 18th century, 
and was especially celebrated for his sea-pieces. 
He resided chiefly in London, where he died in 
LIT, 

CARWITHAM, J., was an English engraver 
who flourished about 1730, and was chiefly em- 
ployed by the booksellers. His plates are some- 
times executed with the graver only, but at other 
times are etched and finished with the graver in a 
style resembling that of Bernard Picart. There 
exist by him a plate of the ‘Laocoon,’ dated 1741, 
after the antique marble group, and some frontis- 
pieces, among which is an emblematical one, from 
a design of B. Picart, and dated 1723. ; 

63 


A BIOGRAPHICAL DICTIONARY OF 


CARY, Francis STEPHEN, the fifth son of the 
Rev. Henry Francis Cary, the translator of Dante, 
was born in 1808. He studied art in England and 
Italy, and about 1840 succeeded Henry Sass, 
the well-known master of the School of Art in 
Bloomsbury, London. From that time till about 
1870 he imparted instruction to many young 
painters and sculptors who were afterwards suc- 
cessful in life. Cary, whose works were constantly 
seen at the London Exhibitions, died in 1880. 

CASA, NiccoLd DELLA. See DELLA Casa. 

CASA, PreR ANTONIO DELLA. See BERNABEI. 

CASADO DEL ALISAL, Jos#, was born in 
Valencia in 1832. He studied atthe Royal Academy 
of San Fernando, Madrid, and under Federico de 
Madrazo. In 1860 he won the ‘prix de Rome,’ and 
first-class medals at Madrid in 1862, 1864 and 
1881. He was Director of the Spanish Academy 
and court painter, and died in 1895, His principal 
picture, ‘The Bell of Huesca,’ for which he received 
the Grand Cross of the Order of Isabel the Catholic, 
is now in the Museum of Modern Art at Madrid. 
His other pictures include ‘The Death of Ferdinand 
IV.,’ ‘Semiramis,’ ‘Goya’s Studio,’ ‘ Beheaded Arabs,’ 
‘Flora’ (1881), ‘In the Boudoir’ (1882), ‘Tempta- 
tion’ (1884), and ‘ Laura’ (1885). 

CASALI, AnprzA, called ‘The Chevalier,’ an 
Italian painter and engraver, was born at Civita 
Vecchia about 1720, and is said to have been a 
pupil of 8. Conca. He visited England about 
1741, and was employed in the decoration of the 
houses of several of the nobility, and on altar- 
pieces for churches, He remained in England till 
1766, after which he lived for some years at Rome. 
He etched some plates from his own designs and 
one from Raphael. 

CASALINA, Lucia, an eminent portrait-painter, 
was born at Bologna in 1677, She was the pupil 
of Giuseppe dal Sole, and at first attempted some 
historical subjects, but became much more success- 
ful in portraits. Her own portrait, by herself, is 
in the Gallery of Florence. She married Felice 
Torelli, and died in 1762. 

CASANOBRIO, Luca. See CaRrLevagiis. 

CASANOVA, Cartos, born at Exéa de los Cabal- 
leros, in Aragon, studied painting under Geronimo 
Secano at Saragossa. He became painter to Ferdi- 
nand VI., and died at Madrid in 1762. He executed 
a portrait of Ferdinand VI., and one of Fray 
Miguel de San Josef presenting his ‘ Bibliografia 
critica’ to Pope Benedict XIV. He also engraved 
Herera’s picture of ‘St. Augustine,’ at Madrid, and 
some plates for the first edition of Ulloa’s ‘ Relacion 
een del viage 4 la America meridional,’ Madrid 

CASANOVA, Francesco GiusEPPE, was born in 
London in 1727, of Italian parents, who sent him 
while still young to Venice, where, after receiving 
some instruction from Guardi, he became a pupil of 
Francesco Simonini, a painter of battle-pieces, and, 
like him, took Borgognone for his model. Besides 
battle-pieces Casanova painted landscapes with 
figures and cattle, as well as sea-pieces and pastoral 
subjects. He arrived in Paris in 1751, and went to 
Dresden in the following year, where he remained 
until 1757. On his return to Paris he studied 
under Parocel, and was received into the Academy 
in 1763, He exhibited at the Salon till 1783, when 
he went to Vienna. He died at Briihl in 1802, 
He was a clever painter, often powerful, often 


fascinating, but inferior to Borgognone and far | 


below Salvator Rosa, and now thought no more of 
264 


than his pupil Loutherbourg. The following are 
some of his principal paintings: 2 6 


Bordeaux, Musewm, Cavalry Engagement. Dulwich, a 


Gallery, Wanderers near a river. Lille, Museum, 
Two Landscapes. Paris, Louvre, Battle of Fribourg, 
1771; Battle of Lens, 1771; Landscape with animals ; 
Landscape with animals; A Cavalier galloping; A 
Cavalier and other soldiers. Petersburg, Hermitage, 
A Cow. Vienna, Gallery, Cavalry Engagement. 


ETCHINGS, 


The Russian Drummer on horseback. The Three 
Cuirassiers. The Standard. A. Cavalry Skirmish, 
The Ass and the Banner. The Painter’s Dinner. — 


CASANOVA, Francisco, the son and scholar of 
Carlos Casanova, born at Saragossa in 1734, prac- 
tised painting and copper-plate engraving. Cean 
Bermudez mentions with commendation a print of 
‘St. Emidius’ executed by him at Cadiz in 1765, 


* 


He was appointed engraver to the mint at Mexico, — 


where he died in 1778. 4 

CASANOVA, Giovannr BartisTA, brother of 
Francesco Casanova, was born at Venice in 1722. 
He studied painting under Silvestre and Dietrich at 
Dresden, and went in 1752 to Rome, where, under 
the tuition of Mengs, he became an accomplished 
artist in pencil and crayon. Amongst other works 
he designed the plates to Winckelmann’s ‘ Monu- 
menti antichi,’ He was appointed professor in 
the Academy at Dresden in 1764. 
occurred in 1795. 

CASANOVA, Joyzr Y, a Spanish painter, pro- 
duced many pictures of historical subjects, of which 
the most important was, ‘The Queen Regent taking 
the Oath before the Cortes.’ He died in 1890. 

CASELLI, Crisrororo, who was also known as 
CRISTOFORO DA PARMA, or IL TEMPORELLO, and 
called by Vasari CRISTOFANO CASTELLI, was a pupil 
of Mazzuola, and lived in the 15th and 16th cen- 
turies. He earned his livelihood between 1489 and 
1492 as a journeyman at Venice, where he painted, 
in 1495, an altar-piece now hanging in the Sacristy 
of Santa Mariadella Salute. The Gallery of Parma 
contains a ‘ Virgin- and Child, with SS. John the 
Baptist and Jerome,’ probably painted by him 
before 1489. In 1496 he became a master at 
Parma, and painted in 1499 a ‘ Virgin and Child 
between SS. Hilarius and John the Baptist,’ which 
is now in the Sala del Consorzio in that city. The 
same year he executed ‘The Eternal’ ‘on a gold 
ground in a chapel of the cathedral, and the 
‘ Adoration of the Magi’ in San Giovanni Evange- 
lista. In 1507 he finished the monochrome of the 
‘Dead Christ’ in the cathedral. The dates of his 
birth and death are alike uncertain. 

CASEMBROODT, AsranamM, a Dutch painter, 
flourished about the middle of the 17th century. 
He distinguished himself at Messina as a landscape 
and marine painter. He occasionally painted 
historical events, and some pictures by him are in 
the church of San Giovacchino at Messina. He 
has also left a few etchings of marine subjects. 

CASENTINO, Jacopo pet. See LANDINI. 

CASEY, DanIgEL, a French historical painter, was 
a pupil of Wappers, in whose atelier at Antwerp 
he was a fellow-student with Mr. Ford Madox 
Brown. He first exhibited at the Salon of 1842, 
when he contributed a ‘St. Louis in the Desert, 
near Damietta,’ which was bought by the Govern- 
ment, and is now in the Bordeaux Museum. He 
exhibited constantly in Paris and Belgium, and 
became known as a powerful painter of ambitious 


A 


His death - 


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of the Virgin,’ left imperfect by him. 


— 
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s, excelling especially in his rendering of 


horses. Casey died in Paris, December 27, 


-_ GASINI, Giovanni, called VarLunaa, from the 
place of his birth in Tuscany, was born in 1689. 
_ He was a portrait painter as well as a sculptor, 
and died in 1748. 


- CASOLANO, ALEssANDRO, called also ALESSAN- 


__- DRO DELLA ToRRE, was born at Siena in 1552, and 
was the pupil of Salimbeni and of Roncalli, 


under whose tuition he became a very reputable 
historical painter. His compositions are ingenious 
and copious, his figures well drawn and gracefully 
disposed. His works are principally in the churches 
of Siena, but are also to be found in Naples and 
Genoa. His own Portrait is in the Uffizi, Flor- 


E ence. Itis no slight proof of this artist’s merit, 


that Guido Reni, on seeing his picture of the 
‘Martyrdom of St. Bartholomew,’ at the Carmel- 


ites, exclaimed, “‘Costui 6 veramente pittore!’ 


He also etched one plate, a Madonna. He died in 


1606. ; 

CASOLANO, Izario, is called Cristofano Caso- 
lano by Baglione, but Mancini, who was his con- 
temporary, and Lanzi, both call him Ilario. He 
was born in 1588, and, like his father, Alessandro 
Casolano, was a pupil of Cavaliere Roncalli. He 
assisted his father in some of his frescoes, and 
after his death finished that of the ‘ Assumption 
He painted 
several pictures for the churches in Rome, both in 
oil and in fresco, but was superior in the latter. 
The church of Santa Maria in Via contains a 
‘Trinity,’ and that of La Madonna de’ Monti some 


pictures from the Life of the Virgin and an ‘ As- 
- cension’ by this artist. 


He died at Rome in 1661. 

CASPAR, JoszPH, who was born in 1799 at 
Rorschach in Switzerland, studied at Rome in 
1815, at Berlin under Schadow in 1820, and at 


_ Milan under Longhi and Anderloni, when he gave 


himself up entirely to the art of engraving. He 
resided the greater part of his life at Berlin. Fail- 
ing sight compelled him to relinquish his art in 


1847, and he died in 1880. The following are some 
of his best plates: 


St. Catharine; after Raphael. 

The Colonna Madonna; after the same. 

The Daughter of Titian; after Titian (the Berlin Gal- 
lery picture). 

St. Barbara; after Beltraffio. 

Thomas of Savoy, Prince of Carignan; after Van Dyck. 


CASPARI, Heinrich WILHELM, was born at 
Wezel in 1770, and became a pupil of the land- 
scape-painter Grypmoed. He painted a great 
number of excellent portraits, and died in 1829, 


CASSANA FAMILY. 


Giovanni Francesco. 
(1611—1691.) 


ee 4 
Giovanni Agostino. Niccold. Giovanni Battista. Maria Vittoria. 


(1658—1720.) (1659— 1714.) ( 2? —1711.) 


CASSANA, Abbate GiovANNI AGOSTINO, was an 
elder son of Giovanni Francesco Cassana and a 
brother of Niccold; he was born at Genoa in 1658, 
and was instructed by his father. He painted 
portraits with some success, but preferred painting 
animals and subject pictures,,;in the style of Bene- 
detto Castiglione. His pictures of that description 
are found in the collections at Florence, Venice, 
and Genoa. He died at Genoa in 1720. 

CASSANA. GiovANNI BATTISTA, was the young- 


PAINTERS AND ENGRAVERS. 


est son of Giovanni Francesco Cassana. He 
excelled in painting fruit, flowers, and still-life. 

CASSANA, GIOVANNI FRANCESCO, was born at 
Genoa in 1611, and was the pupil of Bernardo 
Strozzi. He devoted himself to history and portraits, — 
but was more eminent in the latter, of which he 
painted a great number at Venice, where he chiefly 
resided. He passed some time at the Court of 
Mirandola, where he painted a ‘St. Jerome’ in the 
church, and other creditable works. He was the 
father of a family of artists, who all distinguished 
themselves. He died in 1691. 

CASSANA, Maria Virroria, was the daughter 
of Giovanni Francesco Cassana. She painted small 
pictures of religious subjects for private collec- 
tions, and her works are much esteemed. She 
died in 1711. 

CASSANA, Nicco1d, called NicoLerro, a son of 
Giovanni Francesco Cassana, was born at Venice 
in 1659, and was instructed by his father in the 
rudiments of art. He excelled principally in por- 
trait painting, in which he became very eminent, 
although his historical pictures in the Gallery at 
Florence, of which the ‘Conspiracy of Catiline’ 
is the most esteemed, prove that he possessed 
great merit in that direction. He came to 
England in the reign of Queen Anne, whose por- 
trait he painted, as well as those of several of 
the nobility. He did not live long to enjoy this 
success, but died in London in 1714. 

CASSAS, Louis Francois, a French painter and 
architect, was born at Azay-le-Ferron (Indre) in 
1756. After having studied under the younger 
Lagrenée and Leprince, as well as in Italy, he 
accompanied Choiseul-Gouffier to Constantinople 
and Lechevallier to the Troad. He then travelled 
through the Holy Land, Syria, and Egypt, collect- 
ing everywhere numerous drawings and plans, 
which served for the following publications: ‘ Voy- 
age pittoresque de la Syrie, de la Phénicie, de la 
Palestine et de la Basse Egypte,’ 1799; ‘ Voyage 
historique et pittoresque de l’Istrie et de la Dal- 
matie,’ 1802; ‘Grandes Vues pittoresques des 
principaux Sites et Monuments de la Grece, de la 
Sicile, et des Sept Collines de Rome,’ engraved in 
outline by Cassas and Bance, with text by Landon, 
1813. He was inspector and professor of drawing 
at the tapestry manufactory of the Gobelins, and 
was also the founder of the gallery of models of 
architecture of different nations placed in the Ecole 
des Beaux-Arts. Cassas died at Versailles in 
1827. 

CASSEVARI, Giovannt BATTisTA, was born at 
Genoa in 1789, and at anearly age visited Florence, 
where he attended the academy of Benvenuti. 
After having taken part in the campaigns of 1813- 
14, and been present at the battle at Paris, he 
returned to Turin and Genoa, and in 1824 went to 
Florence and Rome. In these cities he painted a 
great number of miniature portraits, and devoted 
himself to the study of the great masters. The 
portraits in oil afterwards executed by him in 
England are painted in the style of the Italian 
and Dutch masters. Buckner and Crispini were 
his pupils. There is by him in the church at 
Frosini a ‘Madonna and Child.’ He died in 1876. 

CASSIANI, Padre Srerano, called In CeRTosINo, 
was a native of Lucca, and flourished about the 
year 1660. He was called Il Certosino, or the 
Carthusian, because he was a monk of that order. 
He painted in fresco the cupola of the church of 
the Carthusians at Lucca as well as two eee 


altar-pieces, representing subjects from the ‘ Life of | eati.’ In 1444 Andrea worke 
the Virgin.’ Other churches of his order at Pisa, | Maria dei Fiore, and Se 
Siena, &c., also contain works by him. They are | ‘ Deposition from the Cross’ intended for 
all very reputable performances, and in the style of | ation of the cupola. In 1446 Andrea | 
Pietro da Cortona. the organ of the cathedral, and in 1451 
CASSIE, James, a Scotch landscape-painter, was | several frescoes in the hospital of Santa Ma 
born at Inverurie in 1819: but the greater part of | Nuova, where he had been received in his povert. 
his life was passed in Aberdeen. He was chiefly | in 1430, and it is concerning the decorati 
self-taught, and at first painted portraits and ani- | of this building that Vasari tells his story abo 
mals. It was, however, to marine landscapes that | the rivalry with Domenico Veneziano, whereas r 
he finally devoted himself, and in which he ex-} cords remain to prove that it was six years previ- 
celled. He was noted for calm, quiet effects of ! ous to 1451 that Domenico painted his frescoes. 
moonlight or sunset, and there is hardly a picture | The works of both have now perished. In 1455 
of his in existence representing morning or after- ; Castagno executed, in imitation of sculpture, the 
noon sunlight. He became an associate of the| colossal equestrian figure of Niccold Tolentino, — 
Scottish Academy in 1869, and was made a full| which now hangs in the cathedral close to the © 
member in the February preceding his death, | colossal figure of ‘Sir John Hawkwood’ by ~ 
which took place in May 1879, in Edinburgh, | Uccelli, a master whom Castagno approached in ~ 
where the last years of his life had been spent. | style nearer than any other. Castagno died in 
Amongst his chief works are: 1457, and was buried in Santa Maria de’ Servi, 
Florence. His last work, in 1457, wasthe refectory  _— 


maura ner ts eet of the hospital of Santa Maria Nuova. Heis said 


Holy Island Castle. 


Chalk Cliffs, Sussex. to have painted in oil, but no work by himin that 
A Highland Goatherd. | medium exists. Many of this artist’s frescoes have 
The Mouth of the Mersey. perished; but the following are among those that —— 
The Mussel Gatherers. remain: 
The Firth of Tay—EHast Coast of Scotland (in the 

Edinburgh National Gallery). Florence. St. Apollonia. Lae Supper. 

. Academy. st. Jerome. 

CASSIONE, GIovANNI FRANCESCO, was an Italian f $ os 0 ae Magdalen: 


wood-engraver, who flourished at Bologna about is . _ §t. John the Baptist. 
the year 1678. He executed several cuts repre- ae ; 
senting the portraits of the painters for the work See Crowe and Cavalcaselle’s ‘History of Paint- 
entitled ‘ Felsina Pittrice,’ by Garlo Cesare Malvasia, | Ing in Italy,’ vol. i. 3 
published at Bologna in 1678. CASTANEDA, GREGORIO, a Spanish historical 
CASTAGNO, ANDREA DEL, was born in 1390, his | painter, flourished in Valencia about 1625, and 
father, Bartolommeo di Simone, being a small pro- | 1s said to have been the pupil and son-in-law of 
rietor and labourer in Sant’ Andrea a Linari, near | Francisco Ribalta, to whom his works are usually 
lorence. He received the name of ‘ Del Castagno’ | attributed in Spain, He died at Valencia in 1629. 
either because he was born in the village of Cas- CASTEELS, Pirrer, a Flemish painter and en- 
tagno (in the Muggello), or else because he spent | graver, was born at Antwerp in 1684, and came to 
there the first years of his life. He was first stimu- | England in 1708. He painted birds, flowers, and 
lated to study art by chancing to come across an | fruit; but his paintings have not much to recom- — 
itinerant painter at work in a tabernacle, which | mend them, and were greatly inferior to those of 
induced him to commence drawing figures on walls | an English contemporary artist, Luke Cradock. 
and stones. Some of his efforts attracted the atten- | As an engraver he has more merit. In 1726 he 
tion of Bernardetto de’ Medici, who took him to | published a set of twelve plates of birds and fowls, 
Florence, where he learned to paint. His early life | etched from his own designs ; and, besides these, 
was full of privations, he himself saying that in | executed some other plates from his own pictures, — 
1430 he was poor, very poor, inasmuch as he had | He died at Richmond in 1749. 
neither bed, board, nor lodging in Florence, and CASTEL, ALEXANDER, was a Flemish landscape 
had but recently been discharged from the hos- | and battle painter, some of whose pictures are in 
pitals of Santa Maria Nuova and the Pinzocheri, | the galleries at Munich, Schleissheim, and Lustheim. 
after having endured a few months’ sickness. | He died at Berlin in 1694, 
The story told by Vasari of his having killed CASTELLAN, Anroinge LAvRENT, a French 
Domenico Veneziano through jealousy is not true: | painter, architect, and engraver, was born at Mont- 
first, because the two artists were never working | pellier in 1772, After having studied landscape ~ 
together at any time; and secondly, because Do- | painting under Valenciennes, he visited Turkey, 
menico survived Andrea nearly four years. Soon | Greece, Italy, and Switzerland, and published several 
after 1430 he painted, for the niches of a hall in| series of letters upon those parts, illustrated with 
the Villa Pandolfini (now a farm-house) at Legnaia, | views drawn and engraved by himself. His best- 
a series of portraits of celebrated men and the | known work is the ‘ Moeurs, usages, costumes des 
Sibyls. These were intended to be viewed at a | Othomans,’ published in 1812, and highly praised by 
great height,as may be seen from the remains of | Lord Byron. He also wrote ‘ Etudes sur le Cha- 
them existing in the depéot of the Uffizi Gallery, | teau de Fontainebleau,’ which was not printed 
Amongst them are the portraits of Pippo Spano, | umtil after his death, which occurred in Paris in 
Farinata, Niccold Acciaiuoli, Dante, Petrarch, Boc- | 1838. Castellan was also the inventor of a new ; 
caccio, as well as Esther, Tomiris, and the Sibyl of | process of painting in wax. a 
Cumez, In1435 the Government of Florence com- CASTELLANO, Et. See Garcia HIDALGO. 
missioned Castagno to paint in the Palazzo del CASTELLIFAMILY. There being two families 
Podesta the portraits of the fallen leaders of the | of artists of the name of Castelli or Castello, the 
Peruzzi and Albrizzi factions. His success in doing | accompanying tables may help to make the relation- 
this earned him the name of ‘Andreino degli Impic- | ship plainer. 
266 


ANDREA DEL CASTAGNO 


lonia, Florence 


, 


[Sant’ Apol 


GIOVANNI BOCCACCIO 


Alinari photo] 


M FAMILY (of Bergamo). 


vanni Battista (I] Bergamasco). 
+, (1509—1879.) — 


eniccol eer 
robably step-son.) 
% ? at Z 71508) ra - 


F ? 


Fabrizio. 
Gz Set 
Felice. 
an (1602—1656.) 


Bef CASTELLI FAMILY (of Genoa). 


et one Battista. Aes 
/ | 5471637.) (1557—1629.) 
ire: EI a «72 Valerio. 
0 Sy Ai (1625—1659.) 
CASTELLI, Awn1Bate, was a native of Bologna, 
who flourished’ about the year 1605. He was a 
scholar of Pietro Faccini, and by imitating his 
- manner, he fell-into the same defect that is dis- 
- cernible in the works of that master, By loading 
and tormenting his carnations, he disturbed his out- 
line, and his figures became heavy and incorrect. 
_ His best work is the ‘ Raising of Lazarus,’ in the 
- ehurch of San Paolo, at Bologna. 
CASTELLI, Bernarpo, See CAsTELLo. | 
~ CASTELLI,'Cristorano. See Case..i, 
CASTELLI, Fasrizio. See CAsrE.io, 
CASTELLI, Freticr. See Casrenyo. 
CASTELLI, Giovanni Battista. See CASTELLO. 
CASTELLI, Vaterio. See CAsTEeLo. 
CASTELLINI, Rarrar.ue, was director of the 
Mosaic School at the Vatican, and executed the 
splendid mosaics of ‘The Sibyl of Cume,’ after 
Domenichino, ‘and ‘St. John the Baptist,’ after 
Guercino. He died at Rome in 1864. 
~ CASTELLO, Avanzinopa CitrApt. See AVANZINO. 
CASTELLO, Brrnarpo, (or CASTELLI,) was a 
Genoese painter, born in 1557. He was a scholar 
of Andrea Semini, and an imitator of Luca Cam- 
biaso. In endeavouring to acquire the facility of 
_ the latter, he fell into all his defects, and abandoned 
nature for manner and despatch. An able designer, 
his works would have approached nearer to per- 
fection if he had taken the trouble of studying 
them. He was copious and ready in invention, 
because his judgment was not difficult to satisfy. 
He lived in habits of intimacy with the principal 
poets of his time, and made the designs for Tasso’s 
‘ Jerusalem Delivered,’ which were engraved by 
Agostino Carracci. He died in 1629. He was also 
an eminent miniaturist ; and is praised by Marino, 
the poet, for the skill and accuracy of his repre- 
sentations of various insects. 


iM 


\ 
\ 


Ss 
; 


' 


ye eee 


Genoa. S. Francesco. St. James and St. Jerome. 


pa S. Ciro. - Christ disputing with the Doctors. 
iy 2 Capuchins. St. Francis receiving the Stigmata. 
Bir ye Crucifixion. 
Es pyeee” St. Anthony of Padua. 
St. Clara, 


Rome. 8. Peter’s. St. Peter walking on the Sea. 


CASTELLO, CasTELuino, was born at Turin in 
1579, and was the pupil of Giovanni Battista 
_ Paggi, under whom he acquired a correct and ele- 
_ gant style of design. His picture of the ‘ Descent 
of the Holy, Ghost,’ in the church of the Spirito 
Santo at Genoa, gained him a great reputation. He 
was also a Véry eminent portrait-painter, and, ac- 

cording to Lanzi, when Van Dyck visited Genoa, 
he particularly admired the style of Castello, and 
they reciprocally painted each other’s portraits. 
He was related to Bernardo and Valerio Castello, 
and died in 1649. 

CASTELLO, Fasrizio, (or CasTELLI,) was the son 


14 


* ! » 


:, —s- PAINTERS AND ENGRAVERS. 


of Il Bergamasco, and employed by Philip II., in 
conjunction with other painters, to decorate parts 
of the Escorial. One of the subjects on which 
they were employed was the victory gained by 
John II. over the Moors of Granada; it was copied 
from a painting by Dello on a canvas 130 feet in 
length, which was found in an armoire of the 
Alcazar at Segovia, and is a most curious com- 
position. He also painted at the Pardo, where he 
executed several frescoes; and he coloured forty- 
eight busts of Saints sculptured by Juan de Arfe for 
the Escorial. He was considered to be an artist of 
great talent. He died at Madrid in 1617. 

CASTELLO, FEticz, (or CAsTELLI,) a Spanish 
historical painter, was born at Madrid in 1602, 
Receiving his first instruction in art from his father, 
Fabrizio Castello, he afterwards became a pupil’ of 
Vicente Carducho, whose style he sought to imitate, 
producing some works of merit, although not equal 
to those of his master, The Madrid Gallery has 
two excellent paintings by him, ‘The Disembarca- 
tion of General Don Fadrique de Toledo in the Bay 
of San Salvador,’ and ‘Spanish Soldiers under the 
command of Don Baltasar de Alfaro swimming to 
attack the Dutch.’ Carducho was so pleased with 
the composition of these pictures that he requested 
permission to paint the head of Don Fadrique in 
the first. Castello died at Madrid in 1656. 

CASTELLO, Francisco DE, was born in Flan- 
ders, of Spanish parentage, in 1556. He visited 
Rome, for the purpose of study, when quite young, 
during the pontificate of Gregory XIII. He painted 
historical pictures, generally small in size, which 
were much sought after. He also executed some 
pictures for the churches at Rome. In the church 
of San Giacomo degli Spagnuoli is an altarpiece of 
the ‘ Assumption of the Virgin,’ with a Glory of 
Angels, and the Apostles below; and in that of 
San Rocco di Ripettz is a picture of the ‘Madonna 
and Child, with SS. Nicholas and Julian.’ He 
died at Rome in 1636. 

CASTELLO, Giovanni BATTISsTA, (or CASTELLI, ) 
called I, BERGAMASCO, was born at Gandino, in the 
Valle Seriana, in the Bergamese, in 1509. He was 
called I] Bergamasco to distinguish him from the 
Genoese painter of the same name, who excelled 
in miniature, When he was young he was entrusted 
to the care of Aurelio Basso, of Crema, a scholar 
of Polidoro da Caravaggio, by whom he was taught 
the first principles of the art. That painter took 
him with him to Genoa, and after some time left 
him in that city, unprotected and abandoned, but 
considerably advanced by his studies after the best 
masters of that school. He had the good fortune 
to attract the attention of a Genoese nobleman, 
Tobia Pallavicino, who took him under his pro- 
tection, and sent him to Rome to study the works 
of the great masters, and supported him until he 
arrived at great proficiency in painting, sculpture, 
and architecture. On his return to Genoa, he first 
exhibited his talents in decorating the palace of 
his protector, and in painting some frescoes in the 
church of San Marcellino. In the monastery of 
San Sebastiano is his justly celebrated picture of 
the Martyrdom of that Saint, by which he acquired 
great reputation, Whilst he was in full possession 
of the public favour, Luca Cambiaso returned to 
Genoa, after completing his studies at Florence 
and at Rome, when an honourable and laudable 
emulation seems to have taken place between these 
artists, and to have been advantageous to both. 
They were together employed by the ware hese 


Bo eee ae ee Ne Oy Ue ee, eT 
5 ; rd ee he / , vy Pas 


Pe cae, ie 


alee 


A BIOGRAPHICAL DICTIONARY 31 ee ead 


' paintings by this artist which are admired for 


maldi, in the Nunziata di Portoria, where Castello 
represented in the ceiling of the choir the Saviour 
sitting as the Judge of the World, surrounded by 
angels, some bearing the instruments of the Pas- 
sion, and others displaying ascroll, inscribed Venite 
Benedicti, painted with a beauty of colour, and an 
effect of light emanating from the figure of 
Christ, which dazzle the beholder. Luca Cam- 
biaso painted the laterals, representing the fate 
of the Blessed and the Reprobate, which, though 
possessed of great merit, are eclipsed by the tran- 
scendent powers of Castello in composition and 
expression. On visiting his native country, am- 
bitious of leaving something worthy of his fame, 
he undertook his great work in the saloon of the 
Lanzi Palace at Gorlago, where he has represented 
some of the most interesting subjects of the ‘ Iliad’ 
wiih a grandeur that resembles the style of Giulio 
Romano. Towards the latter part of his life he was 
invited by Charles V. to visit Spain, and was em- 
ployed by that monarch in the palace of the Pardo, 
which he ornamented with some subjects from 
Ovid, and in several other works. He died at 
Madrid in 1579. 

CASTELLO, Giovanni Battista, (or CASTELLI,) 
called in Castile EL Genovese, to distinguish him 
from the painter of the same name called Il Ber- 
gamasco, was a skilful painter of illuminations and 
miniatures, employed upon the choir books of the 
Escorial. He was born in Genoa in 1547, and was 
the brother of Bernardo Castello. He went to Spain 
with Cambiaso in 1583, returned to Genoa about the 
end of thecentury, and died in his native city in 1637. 

CASTELLO, NiccoLd GRANELLO, See GRANELLO. 

CASTELLO, Vauerio, (or CasTELLI,) was the 
son of Bernardo Castello. He was born in Genoa 
in 1625, and was a scholar of Domenico Fiasella, 
He did not, however, follow the style of either his 
father or instructor, but made choice of prototypes 
more suited to his genius, by studying the works 
of Procaccini at Milan, and of Correggio at Parma, 
from whose example, and a graceful manner of 
disposing his figures, which was natural to him, he 
formed a style which may be called entirely his 
own, His design is sometimes not the most 
correct, but his works are judiciously composed, 
harmoniously and vigorously coloured, and admir- 
able in their chiaroscuro. In his fresco paintings 
he nearly approaches the excellence of Carloni, as 
is evident in the cupola of the Nunziata at Genoa, 
and in Santa Maria. In the church of Santa Maria 
del Gerbino is his picture of the ‘ Conception,’ 
with two laterals of the ‘ Marriage of the Virgin’ 
and the ‘Presentation in the Temple ;’ and in the 
ceiling, in fresco, the ‘ Coronation of the Virgin,’ 
with a choir of angels; in the church of the Bene- 
dictines, the ‘Annunciation; ’ at the Franciscans, 
the ‘Conversion of St. Paul’: at the Augustines, 


the ceiling representing the ‘Descent of the Holy 


Ghost.’ Valerio Castello also excelled in painting 
battles, and subjects of profane history, in which 
he seems to have followed the style of Tintoretto 
and Paolo Veronese. Several of these are in 
the palaces at Genoa. In the Louvre there is 
a ‘ Moses striking the Rock’ by him; and in the 
Uffizi, Florence, a ‘Rape of the Sabine Women.’ 
He died at Genoa in 1659, 

CASTELLUCCI, Savi, was born at Arezzo in 
1608, and was brought up in the school of Pietro 
da Cortona at Rome, and became a successful 
imitator of the facile and pleasing style of that 
master. Some of the churches in Arezzo possess 

268 


father, and his works are often taken to be by a 


uy 2 bk is 4 4 
=: . es ce ame 
a - ‘ 


freedom of hand and their agreeable colouring, _ 
but his chief employment was the production of __ 
easel pictures for private collections. He died in — as 
1672. His son, Pierro CasTELLUccI, painted in 
his style, but ina very inferior manner, = 2 

CASTIGLIONE, Francesco, was the son and 
pupil of Giovanni Benedetto Castiglione, and 
painted landscapes with figures and animals. He 
was most successful in imitating the style of his 


Benedetto himself. A picture of ‘Two Negroes 
and a Dwarf’ by him is in the Dresden Gallery. 
He died in 1716. sa af 

CASTIGLIONE, GiovANNI BENEDETTO, (called 
Ii GRECHETTO, or sometimes IL BENEDETTO,) was - 
born at Genoain 1616. He studied first underGio- __ 
vanni Battista Paggi, and then entered the school — 
of Giovanni Andrea de’ Ferrari, but subsequently — 
he became a disciple of Van Dyck at Genoa, and ., 
after the death of that master visited Florence, 
Venice, Rome, and Naples, in each of which cities __ 
he left examples of his skill and ability. Although 
Benedetto is distinguished throughout Europe by 
his easel pictures of landscapes with figures and 
cattle, yet he was not incompetent to reach a 
higher standard in art, as is evident from his 
fine picture of ‘The Nativity’ in the church of 
San Luca, and his ‘SS, Mary Magdalene and Catha- 
rine,’ in the church of the Madonna di Castello, 
alike in Genoa. He painted historical subjects, 
portraits, landscapes, and animals. In his his- 
torical works he appears not to have had in view 
the ideal beauty which is found in the great masters 
of the Roman school, nor to have attempted the ele- 
gance of form, the purity of contour, or the nobility 
of expression, which form the essence of historical 
painting. He was, however, completely successful 
in the style which he seems to have preferred— 
pastoral subjects, the march of caravans, and 
troops of animals. His pictures of that descrip- 
tion are distinguished by a clear and vigorous 
colour, a lively and spirited touch, and an admirable 
effect of chiaroscuro. His figures and animals are 
grouped in the most picturesque manner, and his 
landscape is always of appropriate and pleasing 
scenery. The latter part of his life was passed in 
the service of the Duke of Mantua, who accom- 
modated him with apartments in his palace, and 
treated him with great liberality and munificence, 
and he there painted some of his finest works. 
Benedetto died at Mantua in 1670. The following 
paintings are by him: 
Dresden. Gallery. Noah going into the Ark, 
Florence. Uffizz. His own Portrait. 

“s Si Noah going into the Ark. 
m4 a Animals. 

Genoa. 8S. Luca. The Nativity. 
» SS. Annunziata, Adoration of the Magi. 
Ducal Pal. _ Jacob’s Journey. 
hn Lrignole Pal. Abraham’s Journey. 
. Entry of Animals into the Ark. 
je Durazzo Pal. Hagar and Ishmael. 
Madrid. Gallery. A Concert. 

oe Bs Elephants in an Amphitheatre, 
Diogenes and a man. 
Roman Gladiators, 


39 9 


” ” 
Munich. Pinakothek. A Caravan. 
Paris. Louvre. Melchizedek and Abraham. 
ue 2 The Dealers driven from the 
Temple. 4 
. ie Animals and Utensils. | 
Petrsbrg.Hermitage. Animals in a Landscape. if 


Vienna. Gallery. 


” ”? 


Noah going into the Ark. 
Noah in the Ark. 


1 engraver, Benedetto is deserving of par- 
larnotice. He has left us about seventy plates, 
cuted with all the taste and spirit that are seen 
is pictures. They are etched, and sometimes 
le assisted by the graver, masterly in their 
effect of light and shade, and may be favourably 
compared with Rembrandt, Deila Bella, and other 
engravers in that style. The following are his 
_ principal prints, which are frequently marked with 


the cipher ¥8)., G.B.C., or BENEDt CAS: 
, ‘The Genius of Benedetto Castiglione, serving as a 

____ frontispiece to his work. 

____ Portrait of Agostino Mascardi. 
Portrait of Antonio Pignolesale. 
___ Sixteen small Heads, among which is his own portrait. 
_ Six large Heads, one of them his own portrait. 
_ Two plates of the Heads of Men and Animals. 
_ Noah and his Children collecting the Animals. 
_ Noah driving the Animals into the Ark. 
_ The Departure of Jacob. 
Rachel hiding her Father’s Gods. 
Tobit burying the Dead; a night-piece. 
_ A similar subject; in chiaroscuro. 
_ The Nativity, with Angels adoring the Infant. 
_ The Adoration of the Shepherds. 
The Angel appearing to Joseph in his Dream. 
The Flight into Egypt. 
The Resurrection of Lazarus. 
____§t. Roch in profile, behind him the Head of his Dog. 
_ The Melancholy; a print so called. 
_ The Little Melancholy. 

The Finding of the Bodies of St. Peter and St. Paul. 
_ Four old Men visiting the Tombs by torch-light. 

Circe in search of the Arms of Achilles. 

A Man with some pieces of Armour, and another ex- 
amining a Tomb. 

A Man pushing a Boat in which are some Animals. 

Diogenes with his Lantern. 

Pan instructing Apollo to play on his Flute. 

Silenus playing on a Flute, with a Shepherdess. 

__ A Combat of Sea Gods. : 

_ Silenus drunk, with three Satyrs. 

A Bacchanal, with a Satyr on a Pedestal. 

A Woman beating a Boy. 

A Menagerie of various Fowls. 

A Landscape. 1658. 

A Landscape ; apparently a frieze. 

A Shepherd driving his Flock. 

Two Shepherds, one on Horseback, driving their 

' Flocks. ; 

A Capuchin discovering the Body of St. Jerome. 

Eleven plates of Vignettes, &c. 

CASTIGLIONE, SatvarTore, was the brother of 
Giovanni Benedetto Castiglione, by whom he was 
| instructed in the art, and he painted landscapes and 
‘3 pastoral subjects so much in the style of his master 
that the most sagacious are often deceived. We 
have also by him a highly-finished etching repre- 
ie senting the ‘ Resurrection of Lazarus,’ signed, and 
dated 1645. 

CASTILLO. See Den CasrILto. 

CASTREJON, Anronio DE, a Spanish painter, 
was born at Madrid in 1625. He was a scholar of 
Francisco Fernandez, and possessed more facility 
in colouring than skill in drawing, His best works 
are of small dimensions, but he sometimes painted 
large altar-pieces, as the ‘Martyrdom of Santa 

_— Lucia,’ inthe church of San Felipe el Real at Madrid, 

__ which perished by fire in 1718. He likewise 
painted figures in the architectural pieces of Roque 
Ponce and of Josef Garcia, as well as groups 
within the flower-garlands of Gabriel de La Corte. 
He died at Madrid in 1690. 

CASTRO, ANTONIO FERNANDEZ DE. See FERNAN- 
DEZ DE CASTRO. 

CASTRO, Giacomo pi, according to Dominici, 
was born at Sorrento about the year 1597. He 


PAINTERS AND ENGRAVERS. 


was a pupil of Giovanni Battista Caracciolo, but 
afterwards received the instructions of Domeni- 
chino when that master visited Naples to decorate 
the chapel of the Treasury. The churches of Sor- 
rento possess works by him, one having a picture 
of ‘The Marriage of the Virgin’ that is highly 
esteemed. He died in 1687. 

CASTRO, Juan SANCHEZ DE. 
CasTRO. 

CASTRO, Manog. Dz, a Portuguese painter and 
scholar of Claudio Coelho at Madrid. He was in 
1698 appointed painter to Charles II. of Spain, in 
succession to Bartolomé Perez, on account of the 
ability which he had displayed in two pictures 
which he had painted for the Convent of the Trinity, 
‘Our Lady attended by Angelic Choristers,’ and 
‘Our Lady redeeming Captives,’ and a fresco in the 
Convent of Mercy. According to Cean Bermudez 
his drawing was incorrect and his compositions of 
very unequal merit. He died at Madrid in 1712, 
after executing works for the churches of San Juan 
de Dios, and San Felipe Neri. 

CASTRO, PEDRO DE, was a Spanish artist who is 
known as an admirable painter of still-life. His 
subjects are arranged skilfully and coloured truth- 
fully, great force being added to them by his know- 
ledge of chiaroscuro. Very little is known of his 
life; his death occurred in 1663. 

CATALANTI, Anronto, called In Sicin1ano, was 
born at Messina in 1560. Lanzi is of opinion that 
he studied at Rome, and formed his style from the 
works of Federigo Barocci, from whence he ac- 
quired that harmony of colour and softness of 
effect which are seen in his works. Such is his 
large picture of ‘The Nativity’ in the church of 
the Capuchins at Gesso. He died in 1630. 

CATALANI, Antonio, called In Romano, was 


See SANCHEZ DE 


| born at Bologna about the year 1596, and was 


educated under Francesco Albani. He was a close 
imitator of the pleasing style of his master, and 
painted several pictures for the churches at Bo- 
logna, although he was more employed on easel 
pictures for the private collections. In the church 
of La Madonna del Grado are four pictures of the 
patron Saints of the city, in four niches; and in 
the church of the Gesu, ‘St. Peter healing the Lame 
at the Gate of the Temple.’ 

CATE, HEnpRIK GERRIT TEN. See TEN CATE. 

CATEL, Franz Lupwie, was born at Berlin in 
1778. He commenced his artistic career by carv- 
ing in wood, and then designed illustrations for 
unimportant works, executing in 1799 ten plates 
for Goethe’s ‘Hermann and Dorothea.’ He next 
worked in Indian ink and water-colours, producing 
in 1806 a large piece in the latter medium, repre- 
senting ‘The Death of Nicholas of Bernau,’ which 
gained him admission into the Berlin Academy. In 
1807 he went to Paris, where he studied oil painting. 
The year 1812 found him at Rome, and there his 
education as an artist was much advanced by his 
connection with Koch, Overbeck, Schadow, and 
Cornelius. His inclination led him more especially 
in the direction of painting landscapes with archi- 
tectural details or prominent figures introduced. 
He attached himself to the new classic school of 
landscape, labouring especially to make his per- 
spective tell effectively, and to gain a great mastery 
over light and shade. His ideas gained much in 
point of breadth from a visit to Sicily, which he 
made in company with Prince Golitsuin in 1818. He 
settled at Macerata in 1830, but returned home on 
a visit in 1840, on which occasion a professorship 

269 


Amongst Catel’s landscape subjects, which are 
marred by a certain touch of conventionality, the 
best perhaps are ‘The Moonlight View of the 
Colonnade of St. Peter’s,’ and ‘The Storm on 
Mount Etna.’ In the Berlin Gallery are two Nea- 
politan views, both painted in 1822, and in the New 
Pinakothek, Munich, are eight works by him, views 
in Italy. His works may be seen in Munich and 
Copenhagen. He died at Rome in 1856. 

CATENA, Vincenzo. See Biaacio. 

CATENARO, Juan BavrisTA, was a portrait- 
painter and engraver, of whom nothing more is 
known than that he worked in London and in 
Madrid at the beginning of the 18th century. He 
etched the portrait of Luca Giordano, and from his 
own designs ‘A Woman with Children, seated in a 
landscape,’ and ‘Apollo surrounded by Cupids.’ 
He was still living in 1720. 

CATESBY, Mark, was born in England in 1679, 
and in 1712 visited America, where he remained 
seven years, studying the botany of the country. 
He then returned home, but made a second visit 
to the colonies, and took up his headquarters at 
Charleston, South Carolina, from which place he 
miade excursions into the interior, through Georgia 
and Florida. He returned to England in 1726, 
that he might engrave the plates for his work 
entitled ‘The Natural History of Carolina, Florida, 
and the Bahama Islands,’ illustrated with plates of 
birds, beasts, fishes, plants, &c. He was elected a 
Fellow of the Royal Society, and died in 1749. 

CATHELIN, Louis Jacques, a French engraver, 
born in Paris in 1738, was one of the best pupils 
of Le Bas. He engraved some excellent small 
portraits of historical personages, literary men, 
and artists; and, although his work was singu- 
larly unequal, he may be classed with Le Mire, 
Ficquet, Gaucher, and other engravers of the 18th 
century, who were distinguished by the skill and 
delicacy of their work. He was received into the 
Academy in 1777, on which occasion he executed 
the portrait of the Abbé Terray, after Roslin. 
Cathelin died in Paris in 1804. Among his best 
works are the following: 


Louis XV.; after Van Loo. Marie Antoinette, Queen 
of France; after Frédou. The same; Countess of 
Artois; Countess of Provence; after Drouats. 
Moliére; after Mignard. Pierre Noel Le Cauchois; 
after Mile. de Noireterre. Jean Paris de Montmartel ; 
after M. Q. de La Tour, Louis Tocqué, painter ; 
after Nattier. Stanislaus, King of Poland; after 
Massé. Joseph Vernet, marine painter; after Van 
Loo. Joseph II., Emperor of Germany; Maria 
Theresa, Empress of Germany; after Ducreux. La 
Nouvelle Affligeante; after P. A. Wille. The Death 
of Lucretia; after Pellegrini. Latona revenged; 
after Lauri; begun by Balechou, and finished by 
Cathelin. Erigone; after Monsiau. A Waterfall, 
with Fishermen; The Four Hours of the Day; after 
J, Vernet. 


CATHELINAUX, CurisToruE, a French painter 
of dogs and other animals, born at Warcq (Meuse) 
in 1819, was a pupil of Drolling, and entered the 
Ecole des Beaux Arts in 1839. He exhibited at 
the Salen from 1857 onwards. He died in 1883. 

CATHELINEAU, Gaitan, a French painter of 
portraits and of historical and genre subjects, was 
born at Montrichard (Loir-et-Cher) in 1787. He 
was a pupil of David, and professor of drawing at 
the Lyceum of Tours from 1835 to 1858. He died 
at Tours in 1859, beaueathing to the Museum of 

270 


was bestowed on him by the King of Prussia. ‘| tnat city fifty 


pictures by diff 
as eleven by his own hand. 
CATI, Pasquate, a native of Jesi 
Baglione, flourished at Rome during t 
of Gregory XIII., Sixtus V., and Clemen 
was employed in the Loggie of the Vatican, 
he painted ‘The Passion of Christ,’ as also 
friezes in the Sala Clementina. The cha 
Cardinal Altemps, in Santa Maria in Trastey 
decorated by Cati with subjects:taken fro’ 
‘Life of the Virgin.’ He died at Rome durin 
pontificate of Paul V. (1605—1621), in his 70th; 
CATLIN, GeorcE, a designer and painter, 
born in 1794 in Wyoming Valley, Pennsylvan 
After first studying law he turned _his attention 
painting, and is well known for his depicting of 
the North American Indians. In 1832 he com- ~ 
menced a prolonged course of visits to their nativ 
haunts, and after intercourse with no less tha 
forty-eight different tribes, he published a work i 
1851, containing portraits of 200 chiefs and war-— 
riors, together with miscellaneous sketches» He 
died at Jersey City in 1872. HO Tt gee fe 
CATS, Jacop, an excellent draughtsman, who 
also etched and painted, was born at Altona 
in 1741. He studied under Abraham Starfe and 
Pieter Louw. He was celebrated for drawing land- _ 
scapes with animal accessories, his works having a _ 
distinct originality, and being marked bya poetical ~ 
rendering of the features of nature, as well as by ~ 
careful manipulation. They are often suggestive 
of Adriaan van de Velde and of Berchem, and are 
highly valued. He also painted some pictures on 
a smaller scale, and has left us some etchings. 
He died at Amsterdam in 1799. _ Amongst his 
plates may be mentioned : ; cane 
A View of Amsterdam. Another; after W.-Weits. 
Another; after J.de Beyer. Six plates of Landscapes. 


CATTAMARA, Paotuccio, was an artist of 
Naples, who flourished about 1718, ‘and painted 
fruit, birds, medals, &c., with marvellous ‘resem- 
blance to nature. eet ons 

CATTANEO, Santo, called SANTINO, an Italian 
painter, was born at Salo in 1739. He at first 
practised wood-engraving, but afterwards studied 
painting under Antonio Dusi of Brescia and. Fran- 
cesco Monti of Bologna. He settled at Brescia in 
1773, and in 1810 became professor of drawing in 
that city, where he died in 1819. Many of the 
churches and residences of Brescia and its neigh- 
bourhood are rich in his works. 

CATTANIO, Costanza, was born at Ferrara in 
1602. He was a pupil of Ippolito Searsellino, but 
afterwards frequented the school of Guido Reni at 
Bologna. This artist was of so quarrelsome and 
turbulent a disposition that he passed the greater 
portion of his life in exile or in disgrace. This 
turbulence of his nature is evinced in many of his 
works, which generally represented soldiers and 
banditti, painted in a menacing tone of colour. 
That he could divest himself of this peculiarity is _ 
evident from his pictures of ‘The Flagellation’ 
and the ‘ Ecce Homo,’ in the church of San Giorgio 
at Ferrara. His ‘Christ praying on the Mount’ 
in San Benedetto, and his ‘Annunciation’ in San 
Spirito, Ferrara, have something of the suavity of 
Guido. He died in 1665. ' ; 

CATTAPANTI, Luca, was born at Cremona about 
the year 1570, and was instructed in the school of 
the Campi. Many of the works of his masters 
were copied by him, with a precision that might 


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the most experienced. Of his own com- 
the most meritorious was his picture of 
collation of St. John,’ in the church of San 
Donato at Cremona. One of his pictures is signed 
Inca Catapan, 1597, ; ‘ 
_ CATTERMOLE, Cxartes, a nephew of George 
Cattermole, exhibited first in the year 1858. Most 
of his pictures appeared at the Royal Institute of 
_ Painters in Water-Colours, of which he became an 
associate in 1864, and a full member in 1870. He 
was alsoa member of the Society of British Artists, 
— and a frequent contributor to its exhibitions. He 
painted figure subjects both in oil and water- 
colours, and, following the example of his uncle, 
drew a few illustrations for books. He died in 
0G 
~ CATTERMOLE, Georcs, a water-colour painter, 
was born at the village of Dickleborough, near 
ss, in Norfolk, in 1800. At an early age his 
attention was directed to the delineation and 
study of the architectural antiquities which par- 
ticularly abound in his native county; and 
when only sixteen years old, his name appeared 
as one of the illustrators of Britton’s ‘ English 
Cathedrals.’ These pursuits determined, as it were, 
he scene upon which his imagination was after- 
ards to work; and he soon began to people the 
uaint remains of feudal times with incidents of 
history or romantic adventure appropriate to each. 
In 1880 he travelled into Scotland for the purpose 
_ of making sketches of localities mentioned in the 
writings of Scott; many of these have been pub- 
lished in various forms, and a large number of them 
_ are widely known as illustrations of the ‘ Waverley 
Novels.’ He illustrated the ‘ Historical Annual,’ 
_ devoted to the history of the civil war, written by 
his brother the Rev. R. Cattermole; and contri- 
_ buted illustrations to ‘ Barnaby Rudge,’ and other 
of Dickens’s novels. Cattermole was from 1833 to 
1850, in which year he withdrew his name from the 
_, roll of the institution, a member of the Society of 
_ Painters in Water-Colours, and during that period 
was a constant exhibitor. He died in 1868, at 
Clapham Common. He was a member of the 
Royal Academy of Amsterdam, and of the Belgian 
Society of Water-Colour Painters. 
_____The following are some of his principal works: 


At South Kensington— 


The Silent Warning. 1837. 

Hamilton of Bothwellhaugh preparing to shoot the 
Regent Murray. 1843. 

14 Lady Macbeth. 1850. 

i Cellini and the Robbers. 

( Macbeth and the Murderers. 

The Armourer’s Tale. 
7 Interior with Figures and Armour. 
National Gallery.) 

Sir Walter Raleigh witnessing the execution of the Earl 
of Essex in the Tower. 1839. 

Old English Hospitality. 1839. 

The Castle Chapel. 1842. 

After the second Battle of Newbury. 1848. 

Benvenuto Cellini defending the Castle of Sant’ Angelo. 

/ 1845. 

__ he Unwelcome Return. 1846. (4 forest-scene.) 

A Terrible Secret. 1862. (Jn owl: the only picture 

exhibited at the Royal Academy.) 


CATTERMOLE, Rev. RicHarpD, an elder brother 
) of George Cattermole, born in 1795, was a water- 
| colour painter, and exhibited drawings of interiors 
at the Water-Colour Society from 1814 to 1818. 
He afterwards gave up art, and entering the 
| Church, became Vicar of Little Marlow, Bucks. 

| He died at Boulogne in 1858. 


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(In the Edinburgh 


ss PAINTERS AND ENGRAVERS. 


CATTINI, Giovanni, an engraver, was born at 
Venice in 1725. He was a pupil of Faldoni, and 
executed plates of some antique statues which are 
at Venice, and a set of fourteen large heads, after 
Piazetta. He also engraved some portraits of Vene- 
tian nobles, and one of Francesco Zuccarelli, the 
artist ; 

-Giustiniani Gallery, Venice, in the manner of 
Claude Mellan, with a single stroke. 
CATTON, CHaArLes, was born at Norwich in 


1728, and apprenticed to a coach-painter in London, | 


He afterwards became a member of the St. Mar- 
tin’s Lane Academy, and in 1784 served the office 


of Master of the Company of Painter-Stainers, the 


fraternity of English artists in olden time. He 
was the first herald-painter who designed the sup- 
porters to coats of arms with any resemblance to 
nature, which probably obtained for him the honour 
of being appointed coach-painter to his Majesty, 
George III., who also nominated him one of the 
foundation members of the Royal Academy in 
1768. He exhibited at the Academy chiefly land- 
scapes, and occasionally composition pictures and 
animals. He died in London in 1798. In St. 
Peter Mancroft, Norwich, there is a picture by 
him of ‘The Angel delivering St. Peter.’ 

CATTON, CHartzs, the son of the Royal Acade- 
mician of the same name, was born in London in 
1756, and studied in the Academy Schools. His 
first efforts were devoted to architectural subjects. 
In 1788 he published a series of drawings of animal 
life engraved by himself, and shortly afterwards, in 
conjunction with Edward Burney, he illustrated an 
edition of Gay’s ‘Fables.’ In 1804 he emigrated 
to America, where he died in 1819. In the South 
Kensington Museum there are four small drawings 
of animals by him. ‘ 

CAUCIG, Franz, an Austrian historical painter, 
was born at Gérz in 1762. He studied the first 
principles of art at Vienna, and went, aided by a 
grant, in 1781, to Bologna and to Rome, where 
he spent seven years. In 1791, he was enabled 
in the same way to visit Mantua, and to reside for 
upwards of five years at Venice. He returned to 
Vienna in 1797, and in 1799 became professor of 
historical painting at the Vienna Academy, and, in 
1820, Director of the School of Art, which office 
he held until his death. Specimens of his paint- 
ings, which were numerous, may be seen at Prague, 
and in the Belvedere and other galleries at Vienna. 
He was clever as a draughtsman, and has left us 
upwards of 2000 historical designs. His colour- 
ing, however, was feeble and indifferent. He died 
at Vienna in 1828. 

CAUKERCKEN, CornELIs VAN, was a Flemish 
engraver and printseller, born at Antwerp in 1626. 
He engraved several plates of portraits, and other 
subjects, from the works of Rubens, Van Dyck, 
and other Flemish painters. They are executed 
with the graver in a stiff and laboured style, but 
are not without merit. The following are his best 
prints: 

PORTRAITS, 

Peter Snayers, painter of battles; after D. van Heil. 

Tobias Verhaect, painter; after Otto van Veen. 

Robert van Hoeck, painter; after G. Cogues. 

Peeter Meert, portrait painter ; after C. Caukercken. 

Charles van den Bosch, Bishop of Bruges. 

Charles II., King of England; the figure by Caukercken, 

the rest by Hollar. 
| VARIOUS SUBJECTS. 
The Dead Christ in the lap of the Virgin; after 
Annibale Carracei. O71 


as well as some of the statues in the 


Sa fi y Date ead fh Ad eh Be eA AH wo Ty us 
REAP SPUR FON yee ee ee AAS yy siege 
ot) eee A pl oe are : ot ’ 4 ; 


.— a a a i. oe 
As dhe at. ~~ Reno) a 
; — Lu a 


The Dead Christ, with the Virgin, Alooaalenes and St. 
John; after Van Dyck. 
The Descent of the Holy Ghost; after the same. 
Charity, with three Children ; after the same. 
Roman Charity ; after Rubens. 
St. Anne teaching the Virgin; after the same. 
The Martyrdom of St. Lievin ; "after the same. 
The best impressions are those before the name of 
De Hollander. 
A Woman suckling an Infant; after A. Diepenbeeck. 
Boors in a Tavern ; after J. Molenaer. 


CAULA, Sicismonpo, was born at Modena in 
1637. He was the pupil of Jean Boulanger, but 
finished his studies at Venice, from the works of 
Titian and Tintoretto. Besides his altar-pieces, 
he painted cabinet pictures for private collections. 
His best production was his large picture of ‘St. 
Charies Borromeo assisting the plague-stricken 
people of Modena,’ which was painted, with great 
vigour and expression, for the church of San Carlo. 
It is now in the Este Gallery at Modena, which 
also possesses a figure of ‘St. Ambrose’ by him, In 
the latter portion of his life he became more languid 
in his colouring and execution, He painted as late 
as 1694. 

CAULITZ, PrrEr, a painter of animals and 
landscapes, was born at Berlin about 1650, and 
studied art in Italy. The Berlin Museum has by 
him a well-painted scene representing a poultry- 
yard. Other examples may be seen at Potsdam 
and at Brunswick. He was Court-Painter when 
he died at Berlin in 1719. 

CAUSE, Henprik, was a Flemish engraver, who 
flourished about the year 1690. We have some 
portraits by him, among which is that of Cardinal 
Ferdinando d’Adda, He also engraved some plates 
of buildings, &c., which possess considerable merit. 

CAUWER. See DE CAuweEr. 

CAVAGNA, Francesco, called CAVAGNUOLO, 
was the sen of Giovanni Paolo Cavagna, and 
flourished about the year 1625. He painted his- 
tory in the style of his father, but never rose above 
mediocrity. His best work is in the church of the 
Padri Zoccolanti del Romacolo, representing the 
Virgin and Infant Jesus in the clouds, with St. 
Louis, St. Clara, and St. Catharine. He died young 
of the plague at Bergamo in 1630. 

CAVAGNA, Giovannr PaAoto, was born at 
Borgo di San Leonardo, in the Bergamese, in 1556. 
His inclination for painting led him to Venice at 
the period when Titian was in the zenith of his 
fame, and, according to Tassi, he had the advan- 
tage of studying under that great artist. On his 
return to Bergamo he finished his studies under 
Giovanni Battista Moroni, and acquired from him 
an admirable impasto of colour, and a firm pencil. 
He appears to have adopted the style of Paolo 
Veronese, and his best works, both in oil and 
fresco, strongly resemble those of that painter. 
He particularly excelled in painting old men and 
children, as may be seen in his fresco of ‘The 
Assumption of the Virgin,’ with a glory of angels, 
and the apostles beneath, in the choir of the church 
of Santa Maria Maggiore, Venice. The same 
church possesses his oil paintings of ‘The 
Nativity,’ and of ‘ Queen Esther before Ahasuerus.’ 
In the church of Santa Lucia is his famed ‘ Cruci- 
fixion.’ He died at Bergamo in 1627. 

CAVAGNUOLO. See Cavacna, FRANCESCO. 

CAVALCABO, See Baroni CavALcaso, 

CAVALIERI. See CAva.ueris, 

CAVALLERI, FERDINANDO, who was a painter 

272 


of story ead ee was oie 


and studied art at Rome. His pain 
esteemed for their fidelity and trut 
later life a professor at the Academy of § 
He died in 1867. His best works are : i 
‘Beatrice Cenci ascending the Scaffold. 
The Burning of Old St. Paul’s. ae 
The Death of Leonardo da Vinci. 
Prince Eugene, after the Battle of Peterwardein, er, 
His own Portrait (in the Uffizi, Florence). 


CAVALLERIIS, Grovannt BAarrisTa ‘DE, (or 
CAVALIERI,) an Italian engraver, was born at 
Lagherino in 1525, and died at Rome in 1597. _ 
style of engraving resembles that of Aineas Vico, 
although inferior to it. Many of his plates are 
copies after the great Italian masters; they are 
etched, and finished with the graver. He was 
very laborious, and his plates number nearly 380. 
The following are those most worthy of role, 4 


some of them being marked with the cipher Ce. 


The Frontispiece, and Heads of the Popes, for the Vite 
de’ Pontificr. a 

Thirty-three plates of the Ruins of Rome; after Dos- = 
sio. 1579. a 

A series of plates entitled Beate Apollinaris Martyris” _ 
primi Ravennatum episcopt Res geste; after av Cir- 
cignam. 16586. 


id 7 
te 
ns) 


Ecclesiz Anglicans Trophe; after the same. ¥ 

Christ among the Doctors; ‘supposed to be from his own a 
design. “a 

The Last Supper; the same. 

The Image of the Virgin of Loreto. 1566. 

The House of Loreto, and the Miracles wrought ihene: 
1569. a 

The Jubilee in 1585, with a view of the old Church of 
St. Peter’s. 1 

A Sea-fight against the Turks; for Chacon’s Historia 
utriusque Bella Dacict, 1576. — 

The Virgin, called ‘ Le Silence >; after Michelangelo. — 

The Dead Christ in the lap of the Virgin ; after the same. 

The Conversion of St. Paul; after the same. 

The Martyrdom of St. Peter ; after the same. 

The Animals coming out of the Ark; after Raphael. 

Moses showing the Tables cf the Law; after the same. 

The Miracle of the Loaves; after the samé, 

Christ appearing to St. Peter ; after the same. 

The Battle of Constantine with Maxentius; ; after the 
same, 

The Murder of the Innocents; after the same. 

Susannah and the Elders ; after Titian. 1586. 

St. John preaching in the Wilderness: after A, del 
Sarto. 

The Descent from the Cross ; after Daniele da Volterra. 

The Virgin and Infant in the Clouds ; after Livio 
Agresti. 

The Rovetiod of the Cross; after the same. 


CAVALLI, Viraz, called ViTaLE DA BoLoGNA  ~ 
and VITALE DELLE MADONNE, was a painter of the 
13th and 14th centuries, who was a pupil of Franco 
Bolognese. As one of his appellations denotes, he 
was especially noted for the painting of Madonnas, 
one of which (1320) is in the Pinacoteca of Bologna, — 
another in San Giovanni in Monte of the same 
city, and a third (1345) in the Vatican; the last — 
has been engraved by D’Agincourt. An ‘Annun- 
ciation’ and ‘The Manger’ are in Santa Apollonia — 
at Mazzaratta. : 

CAVALLINI, Pretro, was a painter of the 14th — 
century, who studied mosaic painting in Rome under _ 
the Cosmati; but his works are executed in the — 
Florentine style. He was employed upon the 
mosaics which Giotto executed in the Basilica of — 
St. Peter at Rome, and is said to have also worked ~ 
from that master’s designs in San Paolo fuori le © 
Mura about the year 1305, and to have restored the ~ 


‘ 
i * 


» 


mosaics in San Crisogono in the same city. 
al paintings at Florence are attributed to him; 
are in the churches of SS. Annunziata, Santa 
, and San Marco. He died about 1364. 

_ CAVALLINO, Bernarpo, an Italian painter, 
_ born at Naples in 1622, was instructed by Massimo 
_ Stanzioni, and studied the works of Andrea Vac- 
_ caro, Rubens, and Poussin. He died in 1658. His 
_ paintings are small and of a tender character. 
_ ‘Two of them are preserved at Naples—an ‘ Im- 
_ maculate Virgin’ at the church of San Lorenzo 
_ Maggiore, and a ‘St. Cecilia’ at that of San Gio- 
_-vanni di Porta Alba. 

_  CAVALLUCCI, Antonio, was born at Ser- 
__ moneta in 1752, and was perhaps the most admired 
?: seusinter of the modern Roman school after A. R. 
engs and Pompeo Batoni. The Duke of Gaetani 


sent him, at his own expense, to Rome, where he 
studied under Pozzi and Lapis; he afterwards 
went to Parma, and studied the works of Cor- 
reggio. He painted several important works for 
the Duchess of Gaetani, amongst them ‘Christ 
_ appearing to St. Theresa,’ ‘ Anatolio Gaetani con- 
- quering the Saracens,’ and the portraits of the 
_ Pope and of Prince Rospigliosi. Other paintings 
by him may be found at Catania, Rieti, and 
Rovigo; at Pisa, where is his ‘St. Bona distribut- 
ing his Wealth to the Poor, and taking the Re- 
ligious Garb ;’ at the Palazzo Cesarini at Rome, 
his ‘ Venus with Ascanius ;’ and in the Basilica of 
Loreto, his ‘St. Francis of Paola.’ He died at 
Rome in 1795. 
_ CAVALORI. See Sarincorno, 
- CAVARAZZI, Bartotommeo, also called CrEs- 
CENZI, was born at Viterbo about the year 1590, 
and was a pupil of Cavaliere Roncalli, called 
Pomarancio, He had made great progress under 
that master at Rome, when he was taken into the 
protection of the noble family of the Crescenzi, 
whence his acquired name. He painted many 
pictures for his patron, and was also employed at 
____ several of the public edifices of Rome, where he 
____ died in the prime of life in 1625, Of his paintings 
4 we note: 
Rome. &. Andrea della) St.Charles kneeling, with a choir 
q wie Valle. i of angels, 
Be S. Ursula. The Legend of that Saint. 

a S. Anna Conv. Virgin and Child, with St. Anne. 

CAVAZOLA. See Moranpo, 

CAVAZZA, GIovANNI BATTISTA, was a painter 
and engraver, who was born at Bologna about the 
year 1620, He studied under Cavedone and Guido, 
and painted some pictures for public buildings at 
Bologna. The church of the Nunziata has frescoes 
of saints painted by him. He engraved the fol- 
lowing plates from his own designs: 

. The Crucifixion. 
i The Resurrection. 
4 The Death of St. Joseph. 
5 The Assumption of the Virgin. 


ie CAVAZZA, PizR FRANcEscO, was born at 

Bologna in 1675, and was a pupil of Domenico 

Viani. He painted historical pictures, and was 
engaged at several of the churches of his native 

city. He died in 1733. We notice of his works: 

Bologna. SS. Sebastiano ) The Conception, and SS. Sebas- 

. and Rocco. tian and Roch. 

|" be S. Colombano. SS. Nicholas and John the 

i Baptist. 

Lp S. Giuseppe. The Nativity. 

q CAVAZZOLA. See Moranpo. 

| CAVAZZONI. Francesco. was born at Bologna 

vis 


PAINTERS AND ENGRAVERS. 


in 1559, and is known to have been living up to 
1612. He was first the pupil of Bartolommeo 
Passarotti, but afterwards attended the school of 
Lodovico Carracci. Less distinguished than Guido 
and Domenichino, he nevertheless held a respectable 
rank amongst the followers of that great school. 
His principal works are: 

Bologna. S. Maddalena di) Magdalene washing the feet of 


Via §. Donato. Christ. 
x S. Cecilia. _ _ The Crucifixion. 
2 a spring - ; St. John the Baptist preaching. 


CAVAZZONI ZANOTTI, GiovANNI PIETRO, 
though of Bolognese origin, was born in Paris 
in 1674. He was sent when young to Bologna, 
where he became a scholar of Lorenzo Pasinelli. 
Under that master he acquired an agreeable tone 
of coJouring, a mellow pencil, and an intelligent 
acquaintance with the principles of chiaroscuro. 
He painted several altar-pieces for the churches 
at Bologna, of which the most esteemed are 
the ‘Incredulity of St. Thomas,’ in the church 
of San Tommaso dal Mercato; ‘The Resurrec- 
tion,’ in San Pietro , ‘ The Nativity,’ in La Purita, 
and a large picture representing the ‘ Ambassadors 
from Rome swearing fidelity to the Bolognese,’ 
in the Palazzo Pubblico. He travelled extensively 
in France, Germany, and Italy, and resided during 
a great part of his life at Cortona, where he also 
distinguished himself by several pictures which he 
painted for the churches, particularly ‘ Christ ap- 
pearing to the Magdalene,’ ‘Christ bearing His 
Cross,’ and ‘The Murder of the Innocents.’ 

Zanotti was a laborious and intelligent writer on 
art, the most considerable of his numerous publi- 
cations being his ‘ Storia dell’ Accademia Clementina 
di Bologna,’ published in two volumes, quarto, in 
1739. He died at Cortona in 1765. 

CAVE, F. MoRELLAN DE LA. See MoRELLAN. 

CAVE, Henry, an architectural draughtsman, 
born in 1780, is best known by his ‘ Antiquities of 
York,’ in forty plates, drawn and etched by him- 
self, and published in 1813. He died at York in 
1836. 

CAVE, JAmzs, an architectural draughtsman, 
illustrated Milner’s ‘ History of Winchester,’ pub- 
lished in 1809. He occasionally exhibited drawings 
at the Royal Academy. 

CAVEDONE, Jacopo, an eminent but unfortun- 
ate painter, was born at Sassuolo in the Modenese, 
in 1577. Driven, when a boy, from his home by 
the severity of his father, he sought a subsistence 
by becoming a page to a nobleman, a great lover 
of art, who possessed a valuable collection of pic- 
tures. The young Cavedone had employed him- 
self in his moments of leisure in copying some 
of them with a pen, and the copies appeared to his 
master such extraordinary efforts of untaught 
genius, that he showed them to Annibale Carracci, 
and introduced the young artist to him, who 
encouraged the youth to persevere, gave him 
some of his drawings to copy, and soon after- 
wards received him into his school. The pro- 
gress of Cavedone under such an instructor was 
surprising. He also studied under Passarotti, and 
then went to Venice, where he applied himself to 
study the works of Titian, and acquired that 
admirable style of colouring in which he may be 
said to have surpassed every other painter of his 
school. On his return to Bologna, he commenced 
the display of his talents with such éclat, that some 
of the pictures he painted for the ae ia 


esteemed almost equal to the works of Annibale 
‘Carracci. At this time his design was elegant 
and correct, and his colouring so tender, and at the 
same time so vigorous, that it is recorded by Lanzi, 
that Albani, on being asked by a stranger if there 
were any pictures by Titian at Bologna, replied, 
‘‘No, but there are two by Cavedone in San Paolo, 
which amply supply the want of them, and are even 
. painted with more spirit.” In his fresco works he 
was singularly harmonious, using tints with little 
variety, but so admirably appropriated to that 
style of painting, that Guido adopted him as a 
model. Cavedone, who in the prime of his career 
promised to be the honour and support of art 
in his country, was reduced in later life to the 
miserable necessity of painting ex vot for sub- 
sistence. Superstition had charged his wife with 
witchcraft, and that absurd accusation plunged 
him into the deepest affliction. The loss of an 
only son, who had shown the most marked and 
promising disposition for art, filled the cup of 
his affliction. He sank into a childish and stupid 
despondency, and died in wretchedness and want, 
in Bologna, in 1660, aged 83. His principal 
works are: 


Bologna. Pinacoteca. Virgin adored by SS. Alo and 


Petronius. 1614. 

ba = The Martyrdom of St. Peter of 
Verona, 

= San Paolo. The Nativity. 

- The Adoration of the Magi (his 
masterpiece). 

2A Ospitale di §.) Holy Family, with SS. John and 

Francesco. Francis. 
o S. Salvatore. The Four Doctors of the Church. 


» S. Michele in Bosco. St. Cecilia. 

The Martyrdom of SS. Tiburtius 
and Valerian. 

Death of St. Benedict. 

The Virgin and Child, with three 
Saints. 


? 2? 


» S. Maria delle 
Laudi, 


Florence. Uffizt. His own Portrait. 
Madrid. Gallery. Adoration of the Shepherds. 
Modena. Este Gall. Magdalen. 

+ ” St. Stephen borne up to Heaven. 
Munich. Pinakothek. Pieta (two). 
Paris. Louvre. St. Cecilia. 
Vienna. Belvedere. St. Sebastian. 


CAVENAGHI, Emizio, an Italian painter of 
landscapes and genre pieces, was born in 1852. 
‘La Stanza Poldi,’ and ‘The Music Amateur,’ are 
two of his best performances. He also designed 
many woodcuts for book-illustrations. He died at 
Milan in 1876. 

_CAWSE, Jon, who was born about 1779, ex- 
hibited portraits at the Academy in 1802, and 
afterwards historical pictures, He is best remem- 
bered by his work ‘The Art of Painting Portraits, 
Landscapes, Animals, Draperies, &c., in oil colours,’ 
published in 1840. He died in 1862. 

CAXES, Evento, (Caxust, or CAXETE,) the son 
and scholar of Patricio Caxes, was born at Madrid 
in 1577, He assisted his father in several of his 
works for the court, and was made painter to 
Philip III. in 1612, after having finished the 
‘Judgment of Solomon,’ in the king’s audience 
room in the Pardo. He afterwards painted the large 
altar-piece in the convent of Our Lady of Mercy 
at Madrid, and scenes from the life of Agamemnon 
in the Alcazar. He was reappointed court painter 


by Philip IV. in 1621, and painted the portrait of: 


that king, as well as some historical works for 
the royal palaces. He executed several works in 
ar, in conjunction with Vicente Carducho, for 


A BIOGRAPHICAL DI 


pictures are by him: x 
Copenhagen. Museum. Fall of the Rebel Angels, 1 ae 
Madrid. §. Martin. The Nativity, and the Adoration 
of the Magi. 3 OPN eet Je 
» Monastery of . oe aes 

| San Augustin 1, Joachim and Anne, 


Calzado. ' 
» Museum. Landing of the English | 

Cadiz in 1625. . 
Madonna and Child. | 
St. Ildefonso. AK 


” ” 
” ” 


celebrity to be invited to Spain by Philip II., who __ 
employed him in the palaces of Madrid. He was 
commanded to paint the gallery of the queen in 
the Palace of the Pardo, on which occasion he 
made choice of the very inappropriate subject of 
the ‘Chastity of Joseph.’ It was destroyed with 
many other valuable works of art in the burning 
of that palace. Patricio Caxes, after serving Philip 
II. and Philip III. during forty-four years, died at 
Madrid in extreme poverty, at an advanced age,in 
1612. The king being informed of the state of 
destitution in which he had left his widow and 
eight children, munificently assigned to them five- 
pence a day for one year! Caxes translated into 
Spanish Vignola’s ‘Five Orders of Architecture,’ 
for which he engraved the frontispiece and plates. 

CAYLINA, Paoto, the elder son of a Pietro 
Caylina. He is mentioned as a citizen of Brescia 
in 1458, in which year he appears at Pavia and 
painted an altar-piece for a church at Mortara 
(now at Turin). His name occurs in Brescian 
documents between 1459 and 1475, and he executed 
several paintings there, none of which have sur- 
vived. In all probability he was a brother-in-law 
of Vincenzo Foppa. The only work by him at 
present known is the following: Turin Gallery, 
‘Madonna and Child with Saints’; signed and 
dated, Paulus Brisiensis, 1458. | 

CAYLINA, Paoto, the younger, probably a 
nephew of the above and the son of Bartolommeo _— 
Caylina, whose sister was the wife of Vincenzo 
Foppa. Paolo is spoken of in Brescian documents 
as the nephew and heir of Foppa; on the death — 
of the master he succeeded to his house, the lease _ 
of which he renewed in his own name in 1523. 
He died after 1547. He is occasionally called 
Paolo Foppa, and is probably identical with a 
fresco painter who worked with Floriano Ferra- — 
mola, and who is erroneously held to have been 
Paolo Zoppo. The works of Paolo Caylina have 
not as yet been identified, but in all probability he 
is the author of many of the frescoes at Brescia 
ascribed to Vincenzo Foppa the younger, of whose 
existence there is no proof, There were at — 
Brescia in the sixteenth century several painters 
who bore the name of Vincenzo, but none of them 
were connected with Vincenzo Foppa. It would 
therefore seem more in accordance with historical 
accuracy to cancel the name of the mythical ~ 
Vincenzo Foppa the younger and to substitute for 


hew and heir of Vincenzo Vecchio. 
_ CAYLUS, Anne Cravpe Paiirre pe Tavusiiees 
_ DE GRIMOARD DE PxEsTELS DE Livi, Comte de, a 
celebrated amateur, was born in Paris in 1692. He 
ntered the army and saw some service in the field, 
ut eventually devoted himself to the pursuit and 


_ may be said to have spent his life and fortune. He 

_ visited Italy, Greece, Turkey, and Asia Minor, where 

he sought to discover the site and ruins of Troy, and 

is well-known by his ‘Recueil d’Antiquités,’ an 

- elaborate publication in seven volumes, the last of 

__ which appeared in 1767, two years after his death. 

_ _His etchings, more remarkable for the extraordinary 

__ zeal shown in producing them than for any special 

_ talent, are to be counted by thousands. His plates, 

_ after the drawings of Bouchardon, were finished 

__ by Fessard and his pupils. Hig work has been the 

‘means of preserving to us the subjects of masterly 

sketches by some of the most celebrated painters. 

_ His portrait was engraved by Charles Nicolas 

Cochin, the younger, He died in Paris in 1765, 

and his tomb is in the church of St. Germain 

TAuxerrois. His etchings are marked with the 

following monograms: C*. O***, CO. CdeC. 
C.S. C*S. Mle CdeC. 

Amongst them the following are most worthy of 

attention : 

_ A set of about three hundred plates of the Gems in 

__ the Collection of the King of France. 

A set of ten Antique Subjects—from drawings by Edme 
Bouchardon, etched by C. de Caylus, and finished with 
the graver by Le Bas. 

_ Asset of six Mythological Subjects; after Bouchardon ; 
etched by C. de Cayius, and finished with the graver 
by Fessard. 

A set of thirty Heads; after Rubens and Van Dyck ; 
from the Crozat Collection. 
A fi of fifty grotesque Heads; after Leonardo da 
inet. 
i A set of five Sketches ; after Della Belia. 
Portrait of Polidoro da Caravaggio. 

Ten subjects from the Life of Joseph; after sketches 

by Rembrandt. 

The Deliverance of St. Peter; after the same. 

; - Set of eight plates for “Les Chats” of M. de Moncrif. 

i The Amusements of the Country ; after Watteau. 

¥ Portrait of Camille Falconet ; after Doudlet. 


CAZENAVE, —, was a French engraver, born 
in Paris about 1770, who reproduced with a certain 
success in the dotted manner some of the compo- 
) sitions of Boilly and other popular artists, and like- 

be wise executed some historical scenes of the Revo- 
i. lution. The date of his death is not recorded. His 
best works are: 

L’Optique; after Boilly. 

La Rose prise; after the same. 

L’Amour couronné; after the same. 

La Volupté; after Regnault. 

A Female Head; after Prudhon. 


CAZES, Pierre Jacques, born in Paris in 
1676, was successively the pupil of Houasse and 
___ of Bon de Boullongne. He was noted as a painter 
| of historical subjects, and executed several works 
for Notre Dame, and for the choir of St. Germain- 
des-Prés. In the Louvre is a study of ‘St. Peter 
resuscitating Tabitha.’ He became a member of 
| the Academy in 1703. He became Professor in 
1718, Rector in 1743, Director in 1744, and 
Chancellor in 1746. P. A. Robert, Ch. Parocel, 
Chardin, and the Swedish portrait-painter Lund- 
berg were amongst his scholars, He died in Paris 
in 1754, 
oe 


encouragement of art, in the service of which he 


HOR ROE oie 6 Rat hi i lear aM sr i ea a nk | 
v SS MEe AF MeL > el = ’ om ne it i , i 
A Tiger er wat. 


A a 


| ee PAINTERS AND ENGRAVERS. 
it that of Paolo Foppa, 7. e. Paolo Caylina, the 


CAZES, Romatn, a French historical painter, was 
born at St. Béat (Haute-Garonne) in 1810. He was 
a pupil of Ingres, and is known chiefly by his 
portraits and subjects from sacred history. He 
decorated the church of St. Frangois Xavier at 
Paris, and died in 1881. 

CAZIN, JzEAN CHARLES, a famous French land. 
scape painter, born at Samers (Pas-de-Calais) in 
1840, the son of a doctor, He studied under Lecoq de 
Boisbaudran and went to England, where he came 
under the influence of the Pre-Raphaelite school. 
It was from London he first sent to the Salon of 
1876 ‘Le Chantier,’a fragment of a projected decora- 
tive work. His principal later works were ‘The 
Flight into Egypt,’ ‘The Journey of Tobias,’ ‘The 
Departure of Joseph and Mary from Judea,’ the 
latter obtaining an honourable mention. In 1880 
his ‘ Hagar and Ishmael’ was awarded a first-class 
medal, but from 1883 he principally produced land- 
scapes, luminously painted and full of sentiment. 
He was Vice-President of the National Society des 
Beaux Arts, and created Knight of the Legion of 
Honour in 1882, and an officer in 1889. He married 
Marie Guillet, also a well-known artist, and died 
at the age of sixty. P. P, 

CEA, JUAN DE, a Spanish painter, flourished in 
the middle of the 16th century at Burgos, in the 
cathedral of which city he executed, in 1565, in 
conjunction with Juan de Anda, several paintings 
of merit. 

CECCARINI, Sepastiano, was born at Urbino 
abont the year 1700, and was a pupil of Agostino 
Castellacci. He painted historical subjects at Rome 
with distinction during the pontificate of Clement 
XII. The suwrporta of the church of Sant’ Urbano 
in Campo Carleo, and the high altar-piece are by 
him, also the altar-piece in the Cappella degli 
Svizzeri in the Quirinal. His best works are at 
Fano; amongst them may be mentioned his ‘ St. 
Lucia’ at the Augustine Church, and historical 
subjects in the Piazza del Popolo. He died in 1780. 

CECCHI, GArrTAno, was a painter born at Flor- 
ence, who flourished there about the year 1770. 
He engraved some plates of historical subjects, 
after the Italian painters, which are etched, and 
finished with the graver. 

CECCHI, Giovanni BatTTisTA, was a Florentine 
engraver, born at Florence about the year 1748. 
He engraved several portraits for the work entitled 
‘Serie degl’ Uomini illustri,’ and also for the ‘ Life 
of the Marquis de Pombal.’ We have also by him 
the following plates : 

The Calling of St. Andrew to the Apostleship; after 

L. Cardi. 

The Martyrdom of St. Laurence; after Pietro da Cor- 

tona. 

The Martyrdom of St. Vitalis; after F. Barrocet. 

The Stoning of St. Stephen; after the same. 

The Entombment of Christ; after Daniele da Volterra. 

Catiline’s Conspiracy ; after Salvator Rosa. 


CECCHINI, Francesco, a Roman engraver, who 
flourished about the close of the 18th century, is 
best known by a set of five engravings after 
Perugino’s frescoes in the Sala del Cambio at 
Perugia. He also engraved the ‘ Visitation of the 
Virgin to St. Elizabeth,’ after Moretto, and several 
other subjects from the Old and New Testaments. 
He was no longer living in 1811, 

CECCHINO pa VERONA is only known as the 
painter of a‘ Virgin and Child, between SS. Vigi- 
lius and Sisinius,’ in the cathedral of Trent, sup- 


275 


| posed to have been painted about 1450. 


A ee ae 
A BIOGRAPH 


CECCHINO pre’ SALVIATI. See Dz’ Rossi, 
FRANCESCO. : 

CECCO, Grecorio pt, of Lucca, was the adopted 
son and heir of Taddeo Bartoli, his name first 
appearing on the roll of the Sienese Guild in 
1389, He seems to have assisted his adopted 
father in some of his pictures, for there formerly 
hung in the Marescotti Chapel of Sant’ Agostino at 
Siena a picture that was signed TADDEVS ET GRE- 
GORIVS DE SENIS PINXERVNT. M.C.0.0.0.x.x. He is 
also known to have painted in 1384 the boards of 
the Biccherna at Siena. The dates of his birth 
and death are unlike uncertain. In the cathedral 
at Siena there is a picture by him of ‘The Virgin 
and Child, with Seraphs and Angels,’ signed and 
dated 1423. 

CECCO BRAVO, It. See Monre.arict. 

CECCO pr PIETRO lived at Pisain the 14th cen- 
tury, and according to Ciampi painted in the Campo 
Santo in 1370, in company with five other artists. 
He was one of the people’s representatives in 1380, 
and in 1386 he painted a ‘Nativity of the Virgin’ 
for the church of San Pietro in Vincolo at Pisa, 
which is now lost. There is a ‘Crucifixion, be- 
tween the Virgin and Saints,’ by him, to be seen 
in the Pisa Gallery. 

CECIL, THomas, was an English engraver, who 
flourished about the year 1630. His plates are 
not without considerable merit, neatly executed, 
entirely with the graver, and chiefly consist of 
portraits. Amongst them are: 


Queen Elizabeth on Horseback. 

Walter Curle, Bishop of Winchester. 

William Cecil, Lord Burghley. 

Edward Reynolds, Bishop of Norwich. 

Thomas Kidderminster of Langley. 1628. 

John Talbot, Earl of Shrewsbury. 

Sir John Burgh, killed at the Isle de Rhé; this print 
is very scarce, as it is thought the plate was altered, 
and the name changed for that of Gustavus Adolphus, 
and inserted in Scudery’s ‘ Curia Politie,’ 

J ip aa prefixed to his ‘ Funeral Monuments.’ 

Archee, the King’s Jester ; a small whole-length. 

Sir John Hayward, Knt., LL.D. 

The Frontispiece to Ambrose Parry’s Works. 

The Frontispiece to Devout Meditations. 1629. 

The Frontispiece to Lord Bacon’s Sylva Sylvarum. 1627, 


CEDASPE. See CESPEDES, 

CELENTANO, Brrnarpo, an artist possessed 
of much skill in the delineation of character and 
expression, was born at Naples in 1835. Two of 
his paintings quoted are, ‘Tasso exhibiting the 
first Signs of Madness,’ and ‘ The Council of Ten.’ 
He studied at Rome, and died in 1860. 

CELERS, ZacHaRiz, was a French landscape 
painter, who flourished at Amiens in 1551, and de- 
signed the triumphal arches erected on the occasion 
of the entry of Henry II. In 1560 he was con- 
demned for having taken a view of the city of 
Amiens and its fortifications. 

CELESTI, Cavaliere ANDREA, was a painter born 
at Venice in 1637. He was a pupil, though not 
an imitator, of Matteo Ponzone. To a fertile 
imagination he added a vagueness of style, and a 
flowing outline resembling that of Paolo Veronese. 
His colouring is clear, brilliant, and tender, but 
in some cases, from defective priming of his can- 
vas, his pictures have lost something of their 
original freshness, and in the half-tints appear to 
have in some degree perished, from which circum- 
stance the harmony of the effect is somewhat 
diminished. He painted historical subjects, both in 

276 


1634. 


CAL DI 


| ennes protecting the Arts,’ but the greater part of 


yuan is 


aA cas WE ORNC oo aenlae 
large and in easel pictures, a 
Jec 


versations and pastoral su 


at. Venice, the best being ‘The Adoration 
Magi.’ The ducal palace possess a ture 
subject taken from the Old Testament that is hi; 
esteemed, He died at Venice in 1706. O 
works by him are in the under-mentioned e 


The Illness of Antiochus Soter. 


Cassel. Gallery. 
Dresden. Gallery. |The Murder of the Innocen 
85 - Worship of the Golden Calf. 


Bacchus and Ceres. 
The Magdalen washing the feet of 


Munich. Pinakothek. eh 
Christ. oe 


By 


CELIO, Cavaliere GAsPARO, was a painter bo B 
at Rome in 1571, and who died there in 1640. 
According to Baglione, he was the pupil of Niccol 


Circignani, called Pomarancio. Of his works the: 
are cited * | = “bike eR 
Rome. SS. Giovanni 2 St. Michael discomfiting the 
tn Laterano. Rebel Angels. ra ae LS A 
“4 S port} St. Charles Borromeo. = 


»  Mendicanti. ~ St. Francis receiving the Stig- 


‘mata, suk 
» Palazzo Mattei. Moses passing the Red Sea. = 
CELLIER, Ciustin, a French historical and 
portrait-painter, was born at Valenciennes in 1745, 


and became a pupil of Groot. The Museum of his 
native city has a picture representing ‘ Valenci- 


his works perished in the time of the first French 
Revolution, He died at Valenciennes in 1793. 

CELLIER, Francois PLacipE, the son and pupil ~ 
of Célestin Cellier, was born at Valenciennes in | 
1768, and possessed considerable talent, but upon 
inheriting a fortune at the death of his father he __ 
abandoned art as a profession. His pictures of 
‘Meleager saving Atalanta,’ and an ‘Idyll,’ are in 
the Museum of his native city. He died in 1849. 

CELLONY, JoserH, a French portrait-painter, 
was born at Aix in 1663, and died there in 1731. 
His son, JosePpH ANDRE CELLONY, was born at Aix in 
1696, and was a pupil of his father and of Rigaud. 
He worked with his father, whom he surpassed 
in portraiture, and died at Aix in 1746, leaving a 
son, JOSEPH CELLONY, who painted historical sub- 
jects. He was born at Aix in 1730, studied under 
André-Bardon, and died in 1786. 

CELS, CorneELis, a painter of portraits and his- 
torical subjects, was born at Lierre in Brabant in _ 
1778.. He studied under A, Lens at Brussels, and 
then visited Paris and Italy, where he became a ~ 
professor of the Academy of St. Luke. He went 
to Antwerp in 1807, and was appointed in 1820 to 
the professorship of drawing at Tournai, a post — 
which he resigned in 1827. Hesubsequently settled _ 
at Brussels, where he resided till his death in 1859. 
His views were originally directed towards the 
antique, as may be seen from a study of his ‘ Cin- 
cinnatus’ at Ghent, but he subsequently took the 
Pre-Raphaelites as his model, and in this style 
painted the ‘ Descent from the Cross,’ for the high 
altar of St. Paul’s at Antwerp, a picture in which 
the drawing is bold and fine, but the colouring 
cold, and the shadows too dark. ‘The Baptism of 
St. Catharine,’ painted in 1809, and now in the 
cathedral at Bruges, is a specimen of his earlier 
manner. His portraits were held in some estima- 
tion. In the Rotterdam Museum is a ‘Portrait of 
Gysbert Karel, Count of Hogendorp.’ om 

CENNINI, Cennino, whose full name was Cen- 


_is well known as the author of a manu- 
t work on the technical process of painting in 
the 14th century, which has been translated by 
Mrs. Herringham (Allen, Lond. 1899). He was a 
_ pupil of Agnolo Gaddi for twelve years, but his 
paintings have nearly all disappeared. A fresco 
_ of the Virgin and Saints by him, in the Hospital 
_ of §, Giovanni Battista, at Florence, was destroyed 
oe when the building was altered in 1787. Works by 
_ him may be seen in the churches of San Gimignano, 
In the chapel of La Croce di Giorno in San 
_ Francesco, at Volterra, is a series of frescoes, 
representing scenes from the life of Christ, and 
‘The Finding of the Cross’; one of these, repre- 
enting the ‘ Massacre of the Innocents,’ bears the 
date mcccox., and the signature, ‘ Cienni di Fran- 
_cesco di Ser Cienni da Firenze,’ and it is considered 
most probable that Cienni and Cennini are identical. 
He was living at Padua in 1398. 
. CENTO, Perecrini DA. See PEREGRINI. 
-CEPHALUS. See BLormMen, NorBERT VAN. 
_ CEPHISODORUS, an illustrious Greek painter, 
who is mentioned by Pliny as having flourished 
about B.c. 420. 
_ CERAJUOLO. See Det Crrasvo.o. 
_ CERANO, It. See Crispi, Giovanni BaTTISTA. 
_ CERCEAU. See AnproveT-DUCERCEAU. 
— CERCOZZI, MicHELANGELO. See CERQUOZzzI. 
- CEREGHETTI, Joszrx, a Bohemian painter, 
was born at Chrudim in 1722, and died there in 
1799. He studied under Hermann, and is known 
by his altar-pieces and portraits, among the latter 
being those of the Empress Maria Theresa and 
the Prince of Auersperg. 
_ CERESA, Carto, was born at Bergamo in 1609, 
and was educated under Daniele Crespi, an able 
painter of Milan. In a short time he acquired a 
style of design and colouring nearly approaching 
in merit to that of his master. A tasteful arrange- 
ment of his figures, great tenderness of colour, and 
an agreeable expression in his heads and forms, are 
amongst the characteristics of the works of this 
painter as given by Tassi. He was also eminent as 
a portrait painter. He died in 1679. His works 
are chiefly in the churches of Bergamo; among 
them are: 
Bergamo. Cathedral. St.Vincent carried up to Heaven 
; by Angels. 
Four of the Prophets. 


»  &. Francesco. 
The Resurrection. 


>» 2 &. Pietro. 


1635 at Burgos, where he learned the rudiments of 
art from his father, Mateo Cerezo. When fifteen 
years of age he went to Madrid, and frequented the 
school of Juan Carrefio de Miranda. After having 
established his reputation by his ‘Conceptions,’ 
Ea ainted for the churches of Madrid, Valladolid, 
Silencin) Burgos, and Malaga, he was employed 

by Francisco de Herrera, the younger, to assist 
him with his frescoes in the dome of the church 
| of Our Lady of Atocha. He endeavoured to imi- 
tate the colouring of Van Dyck, but was always 
inferior to that master. He died at Madrid in 
1685. The Galleries of the Hague, Madrid, and 
1 Berlin, and the Czernin Collection at Vienna, all 
| possess pictures of the ‘Penitent Magdalen’ by 
him. His most esteemed work was his picture 
of ‘Christ with the Disciples at Emmaus,’ painted 
for the refectory of the Recolete Friars in Madrid. 
The Madrid Gallery has by him a fine ‘ Assumption 
of the Virgin’ and the ‘Mystic Marriage of St. 


— = 
: AI <— 


| 
| 


Drea Cennini, was born at Colle di Val d’: 


CEREZO, Marzo, a Spanish painter, was born in . 


PAINTERS AND ENGRAVERS. 


Catharine of Alexandria.’ A ‘Crucifixion,’ formerly 
in the Suermondt Collection, is now in the Berlin 
Gallery ; a ‘ Portrait of Cardinal Puerto-Carrero’ is 
in the Hermitage, St. Petersburg ; and a ‘St. John 
the Baptist’, in the Cassel Gallery. 


CERMAK, Jarostav, a Bohemian painter, was 
born at Prague in 1831, and was educated in the 
Academy of that town under Christian Ruben, in 
Antwerp, in Brussels under Gallait, whom he closely 
followed both in his excellencies and in his defects, 
and lastly in Paris under Robert-Fleury. He settled 
in the last-named city, and at first executed scenes 
from Bohemian history, as ‘ A Night Attack on the 
Hussites,’ ‘ Bohemian Conversion Scene,’ and ‘ The 
Begging Court-Poets of Rudolph II.’ (1850), the last 
of which gained him his first reputation. A tour 
in European Turkey in 1858 afforded him new ma- 
terial, as instanced in some pictures mentioned 
below. He was also particularly successful in the 
portraiture of children. He died in Paris in 1878. 
His later pictures comprise among others : 

The Montenegrin Woman and her Child. 

Turks assaulting a Herzegovinian Woman. 

Razzia of Bashi-Bazouks. 1861. 

The Return to the Country. 

Rendezvous in Montenegro. 1874. 

The Hussites before Naumburg. 1875. 

Taking of Lauenburg. 1876. 


CERNEL, Marie Lovuisz SuzANNE CHAMPION 
DE. See CHAMPION DE CERNEL. 

CERQUOZZI, MicHELANGELO, commonly known 
as MICHELANGELO DELLE BATTAGLIE, from his fond- 
ness for painting battle-pieces, was born at Rome 
in 1602. He was instructed in the school of Bonzi 
(Il Gobbo da Cortona), and afterwards under 
Leckerbetjen and the bamboccia-painter De Laar, — 
in imitation of the last of whom he depicted low 
scenes in a style that rivals that of his master. 
He also painted fairs, markets, shipwrecks, and 
doings of the Lazzaroni. His battle scenes are 
full of life, and exhibit much richness of invention, 
but are often too hastily executed. He finally 
took to painting flowers and fruits, and his pro- 
ductions of this class are highly esteemed. He 
died at Rome in 1660. Some of his productions 
are to be seen in the public galleries of Europe; 
but the best have been considered to be those 
representing ‘The Four Seasons,’ which were 
painted for the Salviati Palace at Rome. 


Berlin. Gallery. Procession of a Pope in Rome. 
Dresden. Gallery. A. Battle-piece. 
Florence. Uffizi An Old Woman. 
Munich. Pznakothek. Hunting-scene. 
es - A Cobbler. 
Paris. Louvre, Fruit-pieces (two). 


CERRINI, Giovanni Domenico, called In Cava- 
LIERE PERUGINO, was born at Perugiain 1609. He 
frequented the school of Guido Reni for some time, 
and became a graceful and elegant designer, with 
an expression in his heads that occasioned some 
of his works to be taken for those of his master. 
His best production is a fresco in the cupola of La 
Madonna della Vittoria, at Perugia, representing St. 
Paul taken up into Heaven. Other works by him 
are in the galleries and churches of Brescia, Cassel, 
Dresden, and Munich. He died in 1681. 

CERTOSINO, It. See CassiAnI. 

CERVA, Giovanni Barrisra, was a native of 
Milan, who flourished about the year 1550. Ac- 
cording to Lanzi, he was a pupil of Gaudenzio 
Ferrari. . His ‘ Incredulity of St. Thomas’ is con- 
sidered to be one of the finest pictures in pest 

1 


RRP USe ieee ES Ar cme Nes 
and by its fine design, the animated expression of | art, with the view of his 5 


the heads, and its entire harmonious effect, gives 
this artist a high rank amongst the painters of the 
Milanese School. 

CERVELLI, FrEpErico, was a native of Milan, 
who flourisned about the year 1690. He was the 
pupil of Pietro Ricchi, called I] Lucchese, whom 
he equalled in the freedom of his pencil, and 
surpassed in the correctness of his design and the 
impasto of his colour. One of his finest paintings 
is in the Scuola di San Teodoro, Milan, and repre- 
sents an episode in the life of that saint. 

CERVETTO, Giovanni PaoLo, was born at 
Genoa about the year 1630. According to Soprani, 
he was a scholar of Valerio Castello, whose vigorous 
style he imitated with great success, but he died 
young, in 1657. 

CERVI, BreRnarbo, was a native of Modena, and 
a scholar of Guido. He possessed an extraordin- 
ary genius, and, in the judgment of his excellent 
instructor, would have reached a high rank in 
art, had he not been cut off in the prime of his 
life by the plague, which visited Modena in 1630. 
His principal works are his frescoes in the cathedral 
at Modena, in the churches of which city there are 
some altar-pieces by him, and a ‘ Deposition from 
the Cross’ in the Este Gallery. There is a print 
by him, the ‘ Martyrdom of St. Sebastian,’ with 
his name abridged, and the date 1628. 

CESA, AnTonio, who lived in the 16th century 
at Belluno, but of whose birth or death no dates 
can be given, is the painter of an altar-piece in the 
church of Sant’ Andrea, Visome, near Belluno, 
which represents the ‘ Virgin and Child, between 
SS. Anthony, Daniel, Andrew, and another saint,’ 
signed ‘‘ Opus ANTONII DE Cesa 1500.” 

CESA, Marreo, was an artist living at Belluno 
in the 14th and 15th centuries, of whose life and 
death no exact dates are known. Paintings and 
altar-pieces by this painter may be found in several 
of the private collections and churches in and 
around Belluno. The best specimens of his style 


are ; 

Belluno, 8. Stefano. Virgin and Child, with Saints and 
Angels (carved work). 

Sala. S&S. Matteo. Virgin and Child between SS. 


: Matthew and Jerome. 

CESAR, a French historical painter, who was 
working at Avignon in 1367. He possessed con- 
siderable talent, and acquired great renown, which 
was Celebrated in the verses of Parasolz B., a con- 
temporary troubadour of Provence. 

CESARE pa SESTO (or Cresarz MILANESE). 
See SEsrTo. 

CESARI, BernarvIno, was the brother and pupil 
of Giuseppe Cesari, whom he assisted in many 
of his works. He also painted several pictures 
in the churches of Rome, entirely after the style 
of his brother. For Clement VIII. he executed 
a large fresco in St. John Lateran, representing 
the Emperor Constantine in a triumphal car, with 
many figures. He died at Rome in the prime of 
life during the pontificate of Paul V. The church 
of San Carlo ai Catinari possesses a picture of 
‘Christ appearing to Mary Magdalene,’ by this 
artist. ; 

CESARI, GiusErre (called G1usEPPINo, and also 
In CAVALIERE D’ARPINO, from the birthplace of his 
father, in the kingdom of Naples) was born at 
Rome in 1568(?). His father was a very humble 
artist, who earned a miserable pittance by paint- 
ing ea votz, and who taught his son what he knew of 

278 


young Cesari employed his leisure m 


when he took an opportunity, in the absence | 
the painters, to sketch on the wall some figu 
which excited the surprise and admiration of every 
one, particularly Fra Ignazio Danti, the superin- 
tendent of the works of the Vatican. He ac- 
quainted the Pope with the circumstance, who ~ 
immediately took the young artist under his pro- — 
tection, and placed him in the school of Poma- 
rancio, and Giuseppino, in a short time, was re 
garded as the most distinguished painter at Rome. 
He was a perfect master of the arts of intrigue, 
and had the talent of exalting the merits of his 
own productions, whilst he depreciated the works 
of others. Clement VIII., who succeeded to the 
papal throne, continued to him the favour and 
protection he had experienced from his predecessor, __ 
and conferred on him the knighthood of St. John 
Lateran, or, as some say, the order of the Abitodi 
Cristo; and Louis XIII. made him a Chevalier of 
the order of St. Michael. Abusing a natural facility, 
and yielding to the fire of an unrestrained imagin- 
ation, Cesari appears to have skimmed the surface 
of art, without venturing to dive into its depths. 
Finding that he could satisfy the popular expecta- 
tion without the labour of study, he did not think 
it necessary to consult nature or the best models of q 
antiquity. By straining the attitudes of hisfigures, 
he expected to give them animation and move- 
ment; and when he attempted expression, he fell 
into distortion and grimace. Those of his works 
in which these defects are least discernible, are 
such as admit of bustle, and require a crowded 
composition. Such are his battle-pieces and pro- 
cessions, in which the horses are drawn with great _ 
spirit, and his readiness of invention is surprising. 
With all his deficiencies, he enjoyed, during his 
life, an elevated rank among the artists of his time, 
and his school was one of the most frequented in 
Rome. He died at Rome in 1640. Baglione states 
that he lived to the age of eighty, but other writers 
assert, with greater probability of accuracy, that he 
died at the age of seventy-two. The following 
are among his extant paintings: . 


Cassel. Gallery. The Betrayal of Christ. 
s = Nymphs and Tritons. 

Dresden. Gallery. A Roman Battle. 

Fano. Castracant History of General Castruccio Cas- 
Palace. tracani---fresco. 

Florence. Offizt. His own Portrait. 

Naples. Carthusian . Scenes from the Life of Christ— 
Monastery.§ frescoes. ; 

Paris. Louvre. Adam and Eve driven from Para- 


dise. 
” » Diana and Acton. 
Petersburg. Hermitage. St. Clara delivering the Town of 
Assisi. 


Reggio. Cathedral. The Visitation. 
ae ile ; Coronation of the Virgin. 
js S. Prassede. The Ascension and The Prophets— 
Srescoes. 
” Capitol Pal. Romulus and Remus—fresco. 
Xs A Rape of the Sabine Women. ~ 
4 on The Horatii and Curiatii. 
” 4 The Sacrifice of Numa Pompilius, 
os Capitol Mus. Diana. 


Lateran Mus. The Annunciation. 
Gallery. Perseus delivering Andromeda, 
he 1602. 
heniady executed several etchings after his own 
esigns. 


was an architect as well as a painter of miniatures, 
which branches of art he learned under the tuition 
of Bramante and Leonardo da Vinci. He was 
employed in the decoration of the cathedral at 
Milan, and he translated the ‘ Architectura’ of 
Vitruvius, printed at Como in 1521, with woodcuts 
_ from his designs, the best of which are ‘ The Golden 
_ Age,’ ‘The Building of the First Houses,’ and 
_ £The Elect of the Earth.’ He died in 1546. 
/ -CESENA, PEREGRINI DA. See PEREGRINI. 
- CESI, Barrotommro, a Bolognese historical 
painter, was born at Bologna in 1556. He was 
first a scholar of Giovanni Francesco Brizzio, called 
- Nosadella, but afterwards studied the works of 
Pellegrino Tibaldi. Contemporary with the Car- 
- racci, and not unfrequently painting in competi- 
tion with them, he preserved their esteem by the 
amiability of his mind, as much as he excited their 
emulation by the display of his talents. Careful 
and correct in his design, without timidity, happy 
in the choice of his forms, and delicately tender in 
the purity of his tints, his works appear to have 
been the model from which Guido chiefly formed 
the suavity and elegance of his style. His powers 
are more extensive in his frescoes than in his 
oil paintings, although he has displayed an uncom- 
mon excellence in both in his numerous works 
in the public edifices at Bologna, His principal 
_works in that city are: 
Certosa. Christ in the Garden. 
Descent from the Cross. 
Adoration of the Magi. 
oe Descent of the Holy Ghost. 
S. Giacomo Maggiore. Virgin and Child with Saints. 
S. Martino. Crucifixion. 
Pinacoteca, St. Paul and St. Peter. 
~e St. Anne and the Virgin, 
His most celebrated work is his set of ten frescoes 
in the Palazzo Favi, representing subjects from 
the life of Aineas: other works by him are in the 
same edifice. He died at Bologna in 1629. 
E CESILLES, Juan, a painter of Barcelona, who 
a flourished towards the close of the 14th century. 
ey He executed, in 1389, an altar-piece containing the 
history of the Twelve Apostles for the church of 
| St. Peter in Reus, but it was removed in 1557 to 
t make way for another work. 
3 CESIO, Caro, a painter and engraver of the 
Roman school, was born at Androdoco, in the 
| Roman States, in 1625. He was brought up at 
} Rome, in the school of Pietro da Cortona, and was 
r employed with some of the best artists of his time 
in several public works during the pontificate of 
fe Alexander VII. He painted historical subjects, 
~ and his works are held in considerable estimation. 
He died at Rieti in 1686. In the Quirinal, he 
painted ‘The Judgment of Solomon,’ and others of 
his works are in Santa Maria Maggiore and in the 
Rotunda. Carlo Cesio was also an engraver of 
some eminence; we have by him several plates 
after the Italian painters of his time. His plates 


SO ERO RTI 
\ 7. 


a spike 
S&. Domenico. 


shale 


| are etched and finished off with the graver, in a: 


free, masterly style. His drawing is generally 
correct, and his prints have the effect of the works 
of a painter. The following are his principal 
works as an engraver: 


_ CESARIANO, Cesare, born at Milan in 1483, | 


RE er ee, Cee A Os Ns) ee Re Fe 
‘ avs ca |i ad ere i . 7 ) ; ‘ i 
tr, Cate sek ad 


PAINTERS AND ENGRAVERS. 


The Virgin and Infant Jesus with St. John; half-length. 
St. Andrew led to Martyrdom, prostrating himself before 
the Cross; after Guido. . 
The Frontispiece to the book entitled Discorsi della 
Musica. ele, 
Sixteen plates from the Pamphili Gallery; after Pietlo 
da Cortona. 
Forty-one plates of the Farnese Gallery ; after Annib. 
Carracct, 
Eight plates of the Buongiovanni Chapel in the church 
of St. Augusine at Rome; after Lanfranco. 
CESPEDES, Panto DE, called in Rome CEpaspPE, 
a painter, sculptor, and architect, as well as a poet, 
scholar, and divine, and equally an ornament of the 
arts and literature of Spain, was born at Cordova in 
1538. He was educated in the seminary at Alcala for 
the priesthood, was thoroughly acquainted with the 
classical and oriental languages, and spoke fluently 
most of the European tongues, As a painter he 
stands amongst the most eminent that his country 
has produced. To perfect himself in this art, he 
went twice to Rome for the purpose of studying 
the works of the great masters, especially those 
of Michelangelo and Raphael; and he produced 
several fine paintings for the public edifices of 
that city. In the Trinita del Monte he painted 
frescoes of the ‘ Annunciation’ and the ‘ Nativity,’ 
and several subjects from the life of the Virgin. 
Whilst at Rome he formed a close friendship with 
Federigo Zuccaro, from whose instructions he ac- 
quired a pleasing style of colouring. His learning 
and merit raising him to the rank of a canon of the 
cathedral of Cordova, he left Rome for that city in 
1577. When Zuccaro was applied to by the Bishop 
of Cordova to paint a picture for his cathedral, he 
declined the commission, saying, that whilst 
Céspedes was in Spain they need not send to Italy 
for painters. Some of his best pictures, repre- 
senting the ‘Martyrdom and Burial of St. Catha- 
rine,’ were executed for the Jesuits’ College at 
Cordova, but all have been destroyed or lost. He 
died at Cordova in 1608, and was buried in the 
cathedral of that city. For a full account of this 
remarkable man, see Cean Bermudez’s ‘ Diccionario 


Historico.’ We note of his paintings: 
Cordova. Cathedral. Last Supper. 
s 4 Virgin and Child, with St. Anne. 
Seville. Cathedral. Four Allegorical Figures of the 
Virtues. 
ie Museum. Last Supper. 


CESSON, Etienne Victor, French landscape 
painter ; born at, Coincy (Aisne) in 1835. Studied 
in Paris at the Ecole des Beaux Arts and became 
the pupil of Amaury Duval, who employed him in 
connection with the mural decorations of the parish 
church of St. Germain en Laye and others. 
Duval subsequently took him with him in his 
journeys to Egypt, Nubia and Syria. Cesson also 
gave considerable help to Puvis de Chavannes 
in some of his more important decorative works. 
From 1864 onwards he exhibited in the Salon; 
among his landscapes may be cited ‘Le Mont 
Canigou’ ; and of his figure painting, the ‘ Hylas, 
and ‘Giotto, enfant, deserve mention. He also 
executed some praiseworthy portraits and char- 
coal sketches. His death occurred at his native 
place, Coincy, on June 6th, 1902. 

CEULEN, Janssens VAN. See JANSSENS. 

CEXSELLI. See CAsELLI. 

CHAFRION, Lorenzo, known as Fray Mat1as 
DE VALENCIA, a painter of religious, historical, and 
other subjects, was born at Valencia in 1696. Rete 


ee 
Akh ue es iat sie 
ee) | a SP aH 


A BIOGRAPH 


: 


CA 


acquiring some knowledge of painting he went to 
Rome, and became a disciple of Corrado Giaquinto, 
whose manner he imitated. He returned to Va- 
lencia, and passed on to Granada to seek assistance 
from an uncle who was one of the judges of the 
Court of Chancery, but not receiving the aid which 
he needed, he entered the Capuchin convent in 
that city in 1747. He was drowned in 1749. In 
the refectory of the convent to which he belonged 
there was a picture of the ‘ Last Supper’ by him ; 
and several of his smaller subjects were in the 
collections of private persons in Valencia. 

CHALETTE, Jean, a French miniature and 
portrait painter, was a native of Troyes, where he 
at first practised his art. In 1581 he was sum- 
moned to Toulouse to decorate the Hétel-de-Ville, 
and there gained so much renown that he settled 
in that city, where he died in 1643. 

CHALLES, Cuarites MicHEL ANGE, a French 
painter, architect, and mathematician, was born in 
Paris in 1718. He studied under André, Lemoine, 
and Boucher, and subsequently visited Rome, A 
‘Sleeping Diana,’ which he painted in 1744, and 
a ‘Venus’ by him are to be seen in Brunswick. 
He also painted many ceilings for palaces and 
churches, but never gained much reputation as a 
painter, although elected an Academician in 1753. 
As an architect and as draughtsman to the king he 
directed the theatrical entertainments at Fontaine- 
bleau in 1765, and the fétes and illuminations at 
Versailles on the occasion of the birth of Louis 
XVI. in 1754, as well as the funerals of the 
Dauphin and the Dauphiness, of Stanislaus, King 
of Poland, of the Queen of Spain, and of Louis 
XV. and his queen, Marie Leszezynska. He was a 
knight of the Order of St. Michael, married the 
daughter of the painter Nattier, and died in Paris 
in 1778. 

CHALMERS, Sir Grorar, Bart., a native of 
Edinburgh and a pupil of Allan Ramsay, exhibited 
portraits at the Royal Academy from 1775 to 1790. 
He died in London in 1791. 

CHALMERS, GrorcEe Patt, a Scotch portrait 
and landscape painter, was born at Montrose in 
1836. He at first served an apprenticeship to a 
ship-chandler, but afterwards went to Edinburgh, 
and entered the School of Design, then under the 
direction of Lauder. His earlier works were por- 
traits, and it was only at a later period that he 
took to landscape painting. He was elected an 
Associate of the Scottish Academy in 1867, and an 
Academician in 1871. He died in Edinburgh, 
February 20, 1878, from the effects of an accident 
that befell him in the streets of that city on the 
16th of the same month. Among his works were: 

The End of the Harvest. 1873. 

Running Water. 1875. 

The Love Song. 

Prayer. 1871. 

The Potato Harvest. 

The Legend (2n the Edinburgh National Gallery). 


CHALMERS, W. A., a water-colour painter, 
who practised in London towards the close of the 
18th century, and is believed to have died young, 
His works are chiefly interiors of churches with 
some ceremony introduced: occasionally he painted 
subject-pieces, as ‘‘Mrs. Jordan as ‘Sir Harry 
Wildair,’’’ and “Kemble in the ‘Stranger.’” 

CHALON, ALFRED EDWARD, was born at Geneva, 
in 1781. His family, whilst he was yet a youth, re- 
moved to London, where, together with his brother 
John James Chalon, he was destined for mercantile 

280 


L DI 


His reputation was first established and principally __ 
rests upon the portraits, mostly in water-colours, 
which he exhibited during many yearsat the Royal —_ 


Ns ee r, 


pursuits. But an inclination for the arts ove 
this intention, and the establishment of the Ske 
ing Society, in which the two young Chalons wer 
mainly instrumental, confirmed them in the adop 
tion of the pursuit of their choice. Alfred becam 


a student of the Royal Academy in 1797, an Asso- 


ciate in 1812, and a Royal Academician in 1816. « 


Academy; and in which he displayed a certain 
turn of piquancy and elegance, and a free and 
sparkling pencil. 


flocked to him to sit for their portraits. He made 
a striking portrait of Queen Victoria, shortly after 
her accession, and was appointed portrait-painter 
in water-colours to Her Majesty. When somewhat 


advanced in life, he essayed oil-painting, but, as a 
may be supposed, with a success, in a technical 


point of view, subordinate to that which he had 


achieved in the more familiar vehicle of water- 


colours ; whilst, as regards composition and treat- — 
ment, the delineator of the reigning belle of the 
season was hardly endowed with the grandeur of 
purpose and style to do full justice to such subjects 
as ‘Samson and Delilah,’ ‘John Knox reproy- — 
ing the Ladies of Queen Mary’s Court’ (1837), 
‘Christ mocked by Herod’ (1841), ‘A Madonna” 
(1845), or even to fancy and poetic subjects of less 
lofty aim. He died at Kensington in 1860, and was 
buried in Highgate Cemetery. . 
CHALON, CurisTIna, was born in Amsterdam 
in 1748, and studied painting under Sara Troost 
and Ploos van Amstel. She, however, devoted 
herself more particularly to etching, in which she — 
acquired great proficiency. She has left us some 
thirty plates, for the most part in the style of 
Ostade. She died at Leyden in 1808. Her etch- 
ings are marked with Chr@ Cha., or Chr@ Chal., 
or else CC. Amongst the best may be noticed: 


An Interior, with three Boors. 
A Mother taking three children to School. 
An Old Woman saluting a peasant Boy. 


CHALON, Henry BERNARD, an animal painter, 
was born of Dutch parentage in London in 1770. 
He was a student of the Academy, and first exhi- 
bited a landscape with cattle in 1792. He met 
with much patronage at court, being appointed 
animal painter to the Duchess of Yorkin 1795, as 
well as to the Prince Regent, and afterwards to 
William IV. His pictures were chiefly devoted to 
the portraiture of horses. He met with a severe 
accident in 1846, and died in 1849. Hisdaughter, 
Miss M. A. CHALON (afterwards Mrs. H. MosELzy), 
was miniature- painter to the Duke of York. She 
died in 1867. 

CHALON, JoHN JAmEs, was born at Geneva 
in 1778, of an old French family who had taken 
refuge there after the Revocation of the Edict 
of Nantes. He was a painter of a wide range 
of subjects — landscapes, marine scenes, animal 
life, and figure-pieces. He went to England when 
quite young, and entered the Schools of the Aca- 
demy in 1796. His first picture, ‘ Banditti at 
their Repast,’ appeared in 1800. In 1808, he, his 
brother Alfred Edward Chalon, and some friends, 
founded the Sketching Society, and in the same 
year he joined the Water-Colour Society, but in 
1813 he seceded from it, and again devoted himself 
to painting pictures in oil for the Royal Academy. 


So much in vogue, indeed, was 
he at one time, that the ladies of the aristocracy 


ie was elected an Associate of that institution 
1 1827, and an Academician in 1841. In 1820, 
_ Chalon published a series of ‘ Sketches from Parisian 
_ Manners,’ in which the incidents were admirably 
_ varied, and so selected as to display the most 
amusing points of national character in connection 
with all that was most picturesque in the costume 
_ of the time, and with that true humour which never 
degenerates into caricature, He was fond of the 
__ scenery of Switzerland, the land of his father and 
mother, and some of his finest landscapes are 
_ faithful transcripts of its mountains and lakes. 
Among these, a very noble work is his ‘ Castle of 
_ Chillon,’ its lonely white walls strongly contrasting 
with the dark mountains that rise behind them, and 
glittering in the ripple of the clear blue lake. 
Amongst his later productions were ‘Gil Blas in 
the Robbers’ Cave,’ in 1843, and the ‘ Arrival of 
the Steamer at Folkestone,’ in 1844. In 1847, he 
was seized by an attack of paralysis, and, after 
a long and painful illness, died at Kensington in 
«1854. The Gallery of Greenwich Hospital possesses 
his ‘Napoleon on board the Bellerophon,’ painted 
in 1816, and in the Sheepshanks Collection at the 
South Kensington Museum are ‘ Village Gossips,’ 
painted in 1815, and ‘Hastings, Fishing Boats 
making the Shore in a Breeze,’ painted in 1819. 
CHALON, Lovis, was a landscape-painter, who 
_ is thought to have been born in Holland about 
i 1687. He painted some views on the Rhine, en- 
is livened with figures, in a very artistic manner and 
with an agreeable colouring. He died at Amster- 
e dam in 1741. 
p> CHAM. See Nor, Comte AMEDHE DE. 
/ CHAMBERLAIN, Witu1am, who was born in 
London, studied in the Royal Academy Schools 
and under Opie. His works, sometimes exhibited 
_ at the Royal Academy, were for the most part 
portraits. He died at Hull in 1807, 
CHAMBERLIN, Mason, a pupil of Frank Hay- 
man, was a portrait-painter, who gained some suc- 
cess on account of the fidelity of his likenesses. 
Ba He was an exhibitor at Spring Gardens in 1763, and 
at the Royal Academy (of which he was one of 
the original members) from 1769 to 1786. He 
died in London in 1787. The Royal Academy pos- 
sesses his portrait of Dr. Hunter, which was his 
| presentation picture, and the Royal Society has his 
portrait of Dr. Chandler. Both these portraits 
have been engraved. 
‘a CHAMBERS, Grorez, a painter of shipping 
| scenes, was a son of a poor seaman of Whitby 
in Yorkshire, where he was born in 1803. During 
his apprenticeship on board a trading sloop he 
| gave evidence of the talent by which he was 
subsequently distinguished, by making sketches 
of shipping for the amusement and gratification 
of the seamen. At Whitby, he took lessons of a 
| drawing-master of the name of Bird, and em- 
be ployed his spare time in painting small pictures of 
shipping, for which he found a ready sale. Go- 
ing to London three years later, he obtained an 
introduction to Mr. Thomas. Horner, who employed 
him for seven years to assist in painting the great 
Panorama of London at the Colosseum, in the 
Regent’s Park. He was also engaged as scene- 
painter at the Pavilion Theatre. Here he attracted 
the notice of Admiral Lord Mark Kerr, who became 
| his sincere patron, and procured him an introduc- 
tion to King William IV. He was admitted as an 
| Associate Member of the Water-Colour Society in 
1834, and was elected a full member in 1836; but 


Siri 


rk, wage 


iene So > fos Sik GS ATR SRR er mes ae es 


-_ - 
- rl 


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AS. ee 
yy figs P a 
hy a Sa f 


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a PAINTERS AND ENGRAVERS. 


a constitution originally very weak, and much shat- 
tered by a sea-faring life, was unable to bear the 
incessant application to which his mind would sub- 
ject it: his strength gave way, and he died in 1840. 
His pictures are now appreciated by collectors, and 
obtain good prices. His best productions are his 
naval battles, in which he is excellent, though in 
the colouring there is perhaps too much redness 
pervading everything, the smoke in particular. 
There are in the hall at Greenwich Hospital three 
battles by him: the ‘Bombardment of Algiers,’ 
the ‘Capture of Portobello,’ and a copy of 
West’s picture of the ‘ Destruction of the French 
Fleet at La Hogue.’ In the South Kensington 
Museum are four water-colour drawings by 
him. 

CHAMBERS, Tuomas, an English engraver, was 
born in London about the year 1724, and drowned 
himself in the Thames in 1789. He engraved 
many of the plates for Boydell’s collections, and 
several portraits of artists for Lord Orford’s 
‘ Anecdotes.’ They are executed with the graver, 
in a firm, but not a pleasing style. The following 
are some of his best prints: 

A Concert; after Caravagguo. 

Raphael’s Mistress ; after Raphael. 

The Holy Family ; after Murillo. 

St. Martin dividing his Cloak; after Rubens. 

St. Peter and St. John healing the Sick ; after S. Bour- 


on. 

Jupiter and Antiope ; after Casali. 

Helena Forman ; after Van Dyck. 

The Good Man at the Hour of Death; after Hayman. 
The Wicked Man; the companion ; after the same. 
The Death of Turenne; after Palmierz. 

Mrs. Quarrington as St. Agnes ; after Reynolds. 


CHAMORRO, Juan, a Spanish historical painter, 
was a pupil of Francisco de Herrera, the elder, and 
was president of the Seville Academy in the years 
1669 and 1670. He was living in 1673, but the 
date of his death is not known. The pictures of 
the ‘Four Doctors of the Church,’ and those repre- 
senting scenes from the life of the Virgin, in the 
church of Our Lady of Mercy at Madrid, attest 
his merits as a painter and a colourist. 

CHAMPAIGNE, Jean BaApTIsTE DE, a Flemish 
painter of historical subjects, genre pictures, and 
portraits, was born at Brussels in 1631. He was a 
nephew of Philippe de Champaigne, who sent for 
him to Paris when only eleven years of age, and 
gave him instruction in painting. He adopted the 
style of his uncle, but did not, however, attain his 
eminence, though his works have sometimes passed 
current under the uncle’s name. He visited Italy, 
returned to Brussels, and thence went to Paris, 
where he was in 1663 elected a member of the 
Academy. He died in Paris in 1681. The follow- 
ing are some of his principal works: 

Brussels. Museum. The Assumption of the Virgin 
(painted for the church of St. 
Gudule, Brussels). 

St. Peter. 

The Benediction of the Order of 
St. Dominic. 

The Adoration of the Shepherds. 

The Stoning of St. Paul at Lystra 
(a ‘mai’ painted in 1667 for 
Notre-Dame at Paris). 

Nancy. Museum, St. Paul. 

Versailles. Palace: Ven ceiling representing ‘ Mercury 


” ” 
Grenoble. luseum. 


Lyons. Museum. 
Marseilles. Museum. 


Salon de in his chariot drawn by two 
Mercure. cocks,’ and four subjects from 
the lives of Alexander, Ptolemy, 
and Augustus. 
281 


a7 


CHAMPAIGNE, Pamrre pe, a painter of his- 


torical subjects and portraits, was born at Brus- 
sels in 1602. Though a native of Brabant, he is 


generally reckoned as belonging to the French 


school. He studied under Bouillon, Michel Bour- 
deaux, and Fouquiére, but went to Paris at the 
age of nineteen, where he placed himself under 
the direction of L’Allemand. Shortly afterwards 
he was employed by Du Chesne, the painter royal, 


to work at the Luxembourg in concert with Nicolas | 


Poussin. His extraordinary success arousing the 
envy of Du Chesne, he quitted Paris for Brussels in 
1627, but was almost immediately recalled by the 
Queen-Mother, Marie de Medicis, to be appointed 
to the post held by Du Chesne, who had just died. 
At Paris he executed numerous works for the 
churches and royal residences, and especially for 
Cardinal Richelieu’s palace. He was one of the 
first members of the Academy, of which he was 
also Professor and Rector. His star, however, 
began to pale somewhat before the brilliancy of 
Le Brun’s rising fame. But this aroused no un- 
worthy feeling in Champaigne’s mind. He retired 
quietly and modestly from active and public life, 
and died in Paris in 1674. His pictures show a 
certain affinity with those of Poussin, whose in- 
fluence he felt, but they surpass them in point of 
colouring, being remarkable in that respect for 
truth, brilliancy, and technical skill. His weak 
point was in the conception and the composition. 
As a portrait-painter he holds high rank. His 
likenesses are distinguished by a fine, noble, and 
life-like execution, vivid appreciation of the natural, 
a skilful luminosity of colouring, and careful exe- 
cution and masterly handling. The following are 
some of his principal works : 


Althorp, Earl Spencer, Portrait of Robert Arnaud 
d’Andilly. Brussels, Jfuseum, Presentation in the 
Temple; St. Genevieve, St. Joseph (painted for 
Saint Séverin, Paris); St. Ambrose, St. Stephen 
(painted for Saint Germain-l’Auzerrois at Paris); 
The Life of St. Benedict (executed for the Abbey of 
the Val-de-Grace at Parts); Portrait of Himself (a 
replica of that in the Louvre). Dijon, Musewm, The 
Presentation in the Temple. Florence, Uffiz7, Portrait 
of a Man; The Calling of St. Peter; Putte Pal., 
Portrait of a Man. Hague, Gallery, Portrait of 
Joseph Govaerts. 1665. Lille, Museum, Adoration. 
London, Wational Gallery, Three Portraits of Cardinal 
de Richelieu in one picture (a full-face and two pro- 
Jjiles: painted for the use of the Roman sculptor 
Mocchi in making a bust); Portrait of Cardinal 
Richelieu in State dress; Wallace Gallery, Four 
Important Pictures. Lyons, Museum, The Last 
Supper (replica of the painting in the Louvre) ; 
Finding the Relics of St. Gervais. Madrid, Gallery, 
St. Anne and the Virgin; Portrait of Louis XIII. 
Munich, Pinakothek, Portrait of Marshal de Turenne ; 
Madonna and Christ. Paris, Zouvre, The Feast in 
the House of Simon; The Last Supper, 1648; Christ 
on the Cross ; The Dead Christ ; Portrait of Catherine 
Agnés Arnauld, and the daughter of the painter; 
Landscape; Louis XIII. crowned by Victory; Por- 
trait of Cardinal de Richelieu; Portrait of Robert 
Arnaud d’Andilly, 1650; Portrait of Himself; Por- 
traits of Francois Mansard and Claude Perrault; 
Christ on the Cross, 1674; Portrait of Jean Antoine 
de Mesme, 1653. Vienna, Adam and Eve mourning 
for Abel. 


CHAMPAIGNE, Pirrre. See De KEMPENEER. 
CHAMPIN, Jean Jacques, a French painter in 
water-colours and lithographer, was born at Sceaux 
in 1796. He was a pupil of Storelli and of Regnier, 
and devoted himself chiefly to historical land- 
scapes. He lithographed a series of views of Old 
282 


the ‘ Habitations des p ages le 
de la France depuis 1790 jusqu’é nos j 
also contributed designs to the ‘Magasin 
resque,’ the ‘Illustration,’ and many other illus- 
trated publications of his time. He died in 1860. 
CHAMPION pe CERNEL, Mariz Louise Sv 
ZANNE, a French engraver who lived inthe latter part _ 
of the 18th century, was a sister of General Marceau. _ 
Married at the early age of fourteen to a profligate __ 
husband, she sought to relieve the unhappiness of —__ 
her life by studying drawing and engraving under 
an artist named Sergent, whose wife she became ~ 
after the death of her first husband. She engraved ~ 
vignettes after Cochin, Moreau, Hisen, and Maril- — 
lier, and some portraits in aquatint for the collec- — 
tion published by Blin and Le Vachez. ee. 
CHANDLER, J. W., a natural son of Lord War- 
wick, painted portraits in London towards the close 
of the 18th century, and afterwards in Aberdeen-  __ 
shire and Edinburgh. He died young about 1804. 
CHANTEREAU, J., a French painter, who was 
born in Paris about 1710. Hisworks werechiefly 
battle-pieces and hunting-scenes, painted with con- 
siderable life and movement. It is probable that 
he studied under Watteau or Pater. A scarce 
etching of his exists, entitled, ‘ Divertissement par 
eau et par mer,’ or, as it is sometimes called, 
‘L’He de Cythere.’ Us | 
CHANTRY, Joun, was an English engraver of 
the time of Charles II., who worked chiefly for the — 
booksellers. He lived some time at Oxford, and 
died about 1662. His plates are executed with the —__ 
graver in a formal, stiff style. Vertue mentions — 
the following portraits by him: a 


James I. 

Charles II.; three prints. 

James, Duke of Monmouth. 

John Selden. i 
Edward Leigh, M.A., of Magdalen College, Oxford. 
Thomas Whitaker, Physician to Charles II. 
Richard Gethinge, a Writing Master. 


CHANUEL, Gonnet, a French historical painter, — 
was born at Avignon, where he flourished in 1560. 
He painted some pictures of which the composition 
and colour were much admired. 

‘CHAPELLE, GrorGE DE LA. 
CHAPELLE, 

CHAPLIN, Cuarues, French painter and en- 
graver, born at Andely in the department of Eure, 
on the 8th of June, 1825. His father was English, 
but his mother French. He did not become a 
naturalized Frenchman until 1886. <A pupil of 
Drolling, his early portraits and landscapes exhibited 
a strongly-marked realistic tendency, but, soon — 
changing his style, he reproduced elegant types of — 
women and allegorical works. His best-known 
pictures are ‘Le Soir dans les Bruyéres’ in the 
Bordeaux Museum, and ‘ Les Bulles de Savon’ at 
the Luxembourg. He also painted a decorative 
panel entitled ‘Un Réve,’ for Prince Demidoff, and 
in 1861 he executed the ceiling and door-panels of 
the Salon des Fleurs at the Tuileries. He etched 
a series of eaux-fortes after his own pictures 
and several portraits after Rembrandt. As a 
foreigner he was disqualified for the ‘prix de Rome,’ 
but gained a third-class medal in 1851, a second- 
class medal in 1852, and a medal in 1865, in August 
of which year he was decorated with the Legion of 
Honour, and promoted officer in 1879, He died in 
Paris on the 20th of January, 1891. ae 


See DE LA 


PDE GHANEE MiG se 


[National Gallery, London 


Flanfstingl phot 


PORTRAITS, OF CARDINAL, RICHETIEVU 


4 
4 


THREE 


> b> be cals ait 6 np, 
eee a ee ee ha 


ONNIER, ALEXANDRE, a Swiss enamel- 
nter and engraver, was born at Geneva in 1753. 
He settled in Paris, and executed in the dotted 
_ style many mythological and fancy subjects after 
_ Huet, Schall, Boilly, Cazenave, and other painters 
_ of the French school of the 18th century. He died 
_ about 1824. His best works are ‘Le Prélude de 
_ Nina,’ ‘L’Amant favorisé,’ ‘La Comparaison des 
a Ppetite Pieds,’ and ‘Le Bouquet chéri,’ all after 
 Boilly. . 
_ CHAPRON, Nicoxas, a French historical painter 
_ and engraver, was born at Chateaudun in 1612. 
_ He was a pupil of Simon Vouet, and went to Rome 
_ about 1640, where he painted, under the direction 
Of Poussin, a copy of Raphael’s ‘Transfiguration.’ 
_ He also painted a ‘ Holy Family,’ and ‘Mary going 
_ tothe Temple ;’ the latter has been engraved by 
_ Picquot. He remained at Rome several years, and 
in 1649 published his set of fifty-two plates from 
-Raphael’s works in the Vatican. Several artists 
ave engraved these admirable productions, but in 
all of them we seek in vain for the nobility of cha- 
_ racter and purity of design of their great author. 
_ Chapron’s transcripts are perhaps the least faulty of 
_ those that have appeared. He died at Rome pro- 
bably about 1656. Chapron is better known by 
his engravings than by his paintings, very few of 
__ which have descended to us. The Louvre, and 
_ the museums of Rennes, Perpignan, Nantes, and 
_ Alengon possess drawings and paintings by him. 
We have, besides the Bible of Raphael, the follow- 
ing plates by him, sometimes marked WV C F,, or 
NV C H F, some of which are from his own designs: 


as 
Fo His own Portrait, seated at the foot of the Bust of 
ta Raphael. The title to Raphael’s Bible. 
ie Henry IV., King of France; below, in basso-rilievo, the 
|e King wounded by Du Chatel ; after Freminet ; scarce. 
a) Another Portrait of Henry IV., with a battle below. 
4 The Virgin suckling the Infant; said to be after Titian, 
te but considered by Mariette to be Chapron’s own 
% design. 


The Alliance of Bacchus and Venus. 1639. 

A drunken Silenus, with a Satyr offering him drink. 
Bacchus, with a Man carrying a Child. 

Satyrs, with Women and Children. 

“A Bacchanal, with a Child pouring out wine to a Bac- 
ff chante. 

Another Bacchanal, with Silenus riding on a Goat. 
Young Bacchanalians, one riding on a Goat. 

Another Bacchanal. 1639. 


CHAPUY, Jean BapristTz, a French engraver, 
was born in Paris in 1760. He worked with Jani- 
net upon the ‘Costumes des Théatres de Paris,’ and 
executed some fancy subjects after Lavreince and 
others, but more especially devoted himself to en- 
graving in colour. The best of the many prints of 
the féte of the Federation in the Champ de Mars, 
July 14,1790, is by him, after Le Roy, and he also 
engraved a very curious set of fourteen plates of 
‘Coiffures de Dames,’ as well as a series of por- 
traits of Louis XVI., Marie Antoinette, Cagliostro, 
and others concerned in the affair of the Diamond 
Necklace. He died in Paris in 1802. 

CHAPUY, Nicotas Mariz JoserH, a French 
architect, lithographer, and naval engineer, was 
born in Paris in 1790. He executed the drawings 
and plates for the ‘ Vues pittoresques des Cathé- 
_ drales frangaises,’ 1823-31; ‘ Voyage pittoresque 
| dans Lyon,’ 1824; ‘Le Moyen-Age monumental et 
| archéologique,’ 1839-44, and several other works, 

He also edited, with Beugnot, the complete works 
of Palladio, 1825-42. He died in Paris in 1858, © 
CHARDIN, JzAn SIMEON, was born in Paris in 


te 


era ell 


PAINTERS AND ENGRAVERS. 


1699, His father at first placed him with Cazes, 
but as that master’s habit was to give his pupils 
his own work to copy, he did not make much 
progress. He subsequently entered the atelier of 
Noél Nicolas Coypel, and was chosen among other 
of Coypel’s pupils to assist Jean Baptiste van Loo 
in restoring one of the galleries at Fontainebleau. 
In the establishment of his reputation he now de- 
voted himself to the painting of dead animals 
and still-life. His old master, Cazes, is said to 
have taken some of his productions for original 
works of the Dutch masters. His success became 
assured, and he was made a member of the Aca- 
demy in 1728, and Treasurer in 1755. About 
1737 he began to turn his attention to figure 
painting, and his well-known ‘Benedicite’ was 
exhibited in 1740. His works are remarkable for 
truth, simplicity, and neatness of finish, as well 
as for the harmony of their tone, and the generally 
careful management of light and shade. It is 
worthy of note that they fell into disrepute towards 
the close of the last century, but, with the revival 
of a truer feeling, they have again won a high 
position in public estimation. Chardin’s second 
wife having been alady of Rouen, he spent several 
years in that city, but died in Paris in 1779. The 
following are some of his principal works: 


Dulwich. Gallery. Girls at Work. 
Montpellier. a i Madame Geoffrin. 
: . Reception pic- 
Paris. Louvre. {i itchen Utensils; es at ile 
ruit, Animals, &c. Acad. 1728 
54 Se The Blessing (Le Benedicite). 
1740. 
eK Pe Dead Rabbit. 1757? 
si _. Kitchen Utensils. 1731. 
He a The Attributes of the Arts. 1765. 
“ oe The Attributes of Music. 1765. 
The Blessing (replica of above). 
Boy with Cards. 
fs 9, LaCaze |} Monkey Painting. 
Coll. } The Silver Goblet. 
{ The Basket of Grapes. 
Kitchen Utensils. 
And others. 
Petrsbrg. Hermitage. The Blessing. 


# me The Washerwoman. 
Wine Ltechtenstein § Mother and Son. 1739. 

* Gallery. Interiors with figures (three). 
Chardin had a son who won the ‘grand prix’ for 
painting in 1754, but died young. 

CHARLES XV., Kine or SWEDEN AND Norway, 
was born May 3rd, 1826, and succeeded to the 
throne on the death of his father, King Oscar I., 
on the 8th of July, 1859. He received instruction 
in the art of landscape painting first from his 
father, but was afterwards more fully instructed 
by Boklund, and his style was still further influ- 
enced by Bergh and Wahlberg. The subjects 
he chose were scenes in Sweden and Norway,— 
broad sketches of coast scenery, or summer wood- 
lands. He often painted in conjunction with 
Malmstrém and Winge, who supplied the figures. 
Among his works may be mentioned ‘In the 
Forest,’ painted in 1869, ‘ View on the Waldbach,’ 
and the ‘ Castle of Ulricsdal.’ He died at Malmo, 
Sept. 18, 1872. The position in which Charles 
XV. stood towards the arts had much influence on 
their development in Sweden. He was the rally- 
ing-point of the art world in his own kingdom, and 
was the means of turning the attention of Swedish 
artists to the beauties of their own country. 

CHARLES, Craupz, a French ambien 


TD RP LE EM Pe gee eae athe yaa One 


ir 1 Wy 
ee aa A ea 
1. Ue a 


A BIOL 


decorative painter, was born at Nancy in 1661. 
He studied under Gérard, and became herald at 


arms and painter to Leopold, Duke of Lorraine, 


He painted numerous pictures for the churches of 
Nancy, and died in that city in 1747. 

CHARLET, Nicoxas ToussainT, a French painter 
and lithographer, was born in Paris in 1792. He 
showed much taste for drawing whilst at school, 
and later on studied under Lebel and Gros. The 
first work that brought him into notice was a litho- 

raph, ‘ La Garde meurt mais ne se rend pas,’ pub- 
lished in 1817. There is a touch of humour in his 
representations, especially in those in which grena- 
diers areintroduced. He perhaps had a natural in- 


clination towards subjects of that class from the fact — 


of his father having been in the army. Figures of 
street Arabs, market women, and concierges were 
also handled by him in a life-like and picturesque 
manner. The Louvre possesses twelve of his draw- 
ings, Versailles has a ‘Scene from the Russian Cam- 
paign,’ exhibited in 1836; the Museum of Lyons, 
‘Moreau’s Passage of the Rhine ;’ and the Museum 
of Bordeaux, ‘ Wounded Soldiers on the March.’ 
He died in Paris in 1845, Charlet’s lithographs 
number nearly two thousand, besides which he 
produced a large number of water-colour and sepia 
drawings and some etchings. 

CHARMADAS, (or CHARMAS,) was one of the 


earliest of the Greek monochromists, who flourished 


about B.c. 850, 

CHARMETTON, Gerorass, a French historical 
painter, was born at Lyons in 1619. He was a 
pupil of Jacques Stella, and was made an Academi- 
cian in 1663, in which year Sébastien Bourdon 
entrusted to him the whole of the architectural 
decorations of the Hétel de Bretonvilliers. He 
died in Paris in 1674. 

CHARPENTIER, ConstancE MaAriz, whose 
maiden name was BLONDELU, was born in Paris in 
1767. She studied under Wilk, David, Lafitte, 
Gérard, and Bouillon, and devoted herself chiefly 
to portraiture, but likewise painted some genre 
subjects. She died in Paris in 1849. 

CHARPENTIER, Evens Louis, who was born 
in Paris in 1811, studied under Gérard and Cogniet, 
and became celebrated as a painter of historical 
pictures. These were frequently battle-scenes, 
some of which are at Versailles. He was also a 
portrait painter, and one of his most successful 
works was a likeness of Georges Sand, painted in 
1839. His ‘Pupils of the Ecole Polytechnique at 
the Battle of Paris, March 30, 1814,’ which was 
exhibited in 1852, is now in the Museum of Bou- 
logne-sur-Mer. He died in 1880. 

CHARPENTIER, Francois PHILIPPE, a French 
engraver, who invented a machine for engraving in 
aquatint, and another for engraving patterns for 
lace, was born at Blois in 1734, and died there in 
1817. By this artist we have among other prints 
the following: 


The Education of the Virgin; after Boucher. 

Cupids playing with the Graces ; the same. 

The Death of Archimedes; after Ciro Ferri. 

The Shepherdess ; after Berchem. 

The Shepherd reposing ; after the same. 

The Descent from the Cross; after C. van Loo. 

Astyanax torn from the arms of Andromache by order 
of Ulysses; after Doyen. 


CHARPENTIER, JEAN Baptistz, a French 
painter of genre subjects and portraits, was born 
in Paris in 1728, and died there in 1806. The 
Museum of Rennes has by him a full-length por- 

284 


‘subjects and portraits. 


‘Christ washing the Disciples’ Feet,’ after 


; rhs! F \ . : ovis t's 5 r 
As is oe ee Pri he 7% 
winyor 
AML Pee aoe ba on “a 
a wae “ ai - * eu we : +7 


trait of the Duke of Penthiévre, H 
France and Governor of Brittany. — 
pupil, JEAN BaPTisTE CHARPENTIER, 


in Paris, where he died in 1835, pai 


be 
ted 
CHARPENTIER, Rent Jacques, a Frenc 

engraver, was born at Caen in 1733, and died in 
1770. We have by him ‘The Last Supper,’ an 


ey. 


bert Lombart, and a ‘ Crucifixion,’ after 
design. - ) Saas ix 
CHARPENTIERE, Aprien. See CARPENTIERS. 
CHARPIGNON, Cuiaupz, was a French engraver ~ 
who flourished in the 17th century, by whom we ~ 
have a ‘ Virgin and Child,’ after Guido Reni; a 
‘Holy Family,’ after Laurent de La Hyre; ‘St. Mary — 
of Egypt,’ after Blanchard, and some portraits. 
CHARRETIE, Anna Marta, was born at Vau 
hall in 1819. Through misfortunes after the death 
of her husband, she adopted art as a profession. 
Amongst her pictures are ‘Lady Betty Germain,’ 
‘ Lady Betty’s Maid,’ ‘ Lady Betty shopping,’ and 
‘Mistress of herself though China fall.’ She died 
at Kensington in 1875. +t ee 
CHARRIN, Fanny and Soruis, were sisters, and 
natives of Lyons. Fanny was a pupil of Legay, 
and, adopting miniature painting, was attached to 
the porcelain manufactory at Sévres. Shediedin 
Paris in 1854. Sophie painted portraits, and died 
in Paris in 1856. ae 
CHARTIER, JeAN, a French painter and en- 
graver, was born at Orleans, in the early part of — 
the 16th century. In 1574 he published a set of 
ten engravings from his own designs, entitled, 
‘Les Blasons de vertu,’ the frontispiece to which _ 
contains a portrait of the artist. He died at 
Orleans in 1586. Among other works by him we 
have the following plates: 
The Virgin and Infant Jesus, with St. John. 
A Man sitting in a Landscape, with ruins. =: 
A nude figure of a Man carrying the base of acolumn. ~ 
The Artist himself seated in his studio. : 
CHASE, JoHn, was born in London in 1810. 
When very young he showed a love for art,and 
was greatly helped in his studies by Constable, 
who took a warm interest in his efforts and pro- 
gress. At fourteen he exhibited his first picture 
at the Royal Academy, and ten years later he was 
chosen one among the earliest members of the 
New Society of Painters in Water-Colours (now 
the Institute), to which he was a constant contri- __ 
butor. He generally painted landscapes and archi- __ 
tectural subjects, especially Haddon Hall. He 
died in London in 1879. In the South Kensington ~ 
Museum there is a drawing by him of ‘ Windmills ~ 
by a River.’ , See 
CHASSELAT, Cartes ABRAHAM, a French his- 
torical painter, was the son of Pierre Chasselat. 
He was born in Paris in 1782, and became a pupil 
of his father and of Vincent. He exhibitedin 1812 
‘The Repose of Belisarius.’ He also illustrated 
the works of Voltaire, Racine, Moliére, and other 
authors; and was employed in making drawings 
of state ceremonials, as the ‘Funeral of Louis 
XVIII.’ and the ‘Coronation of Charles X.’ He 
died in Paris in 1843. His son Henri J. SAINT- — 
ANGE CHASSELAT, who was a pupil of Lethiére, — 
painted historical and genre subjects. He was — 
born in 1813, and died in 1880. 7) 
CHASSELAT, Pizrrzr, a French miniature — 
painter, was a pupil of Vien. He exhibited water- — 
colour drawings and miniatures from 1793 to 1810, 


i 


Lp 4 yes a native of Paris, and died in that city in 
ae ye 

pe OH, SSERIAU, Tutoporz, a French historical 
_ and portrait painter, was born at Sainte-Barbe 
de Samana in the Antilles in 1819, . Brought to 
_ France whilst quite a boy, he was placed in the 
_ studio of Ingres, and he afterwards followed that 
master to the French school at Rome, but subse- 
quently quitted him in order to give himself up more 
_ freely to his own inspirations. He next fell under 
__ the influence of the leader of another great school, 
_ Delaroche. Chassériau executed several large 
__ mural paintings on the grand staircase of the Cour 
des Comptes in the palace of the Conseil d’ tat, 
_ and in the churches of St. Merry, St. Roch, and St. 
_ Philippe-du-Roule at Paris. Among his works 


Eu in the Louvre), ‘Arab Cavaliers carrying away 
___— their Dead,’ ‘The Arabian Challenge,’ ‘Susannah 
____ and the Elders,’ ‘ Christ in the Garden of Olives,’ and 
«Mary Stuart defending Rizzio against his Assas- 

_ gins,’ His chief portraits are those of Lacordaire 
and of Madame de Girardin. He also left behind 
him fifteen etchings of subjects from Shakespeare’s 
‘Othello,’ and thirty from ‘Hamlet.’ He died in 
Paris in 1856. 


ta -~CHASTEAU, GuiLLaume, a French engraver, 
was born at Orleans in 1635. He was instructed 
___ by Greuter, but afterwards studied under Cornelis 
_  Bloemaert, and went for further improvement to 
1% Italy. After passing several years at Rome he 
returned to Paris, where he was employed by Col- 


bert. His first productions were some portraits of 
the Popes. He afterwards engraved several prints 
after N. Poussin and some of the Italian painters, 
some of which are entirely executed with the 
____ graver, in the style of Poilly and Bloemaert, whilst 
| ___ others are the work of the point, which he handled 
; with spirit and taste. Indeed it is to be regretted 
that he did not always follow that style, as being 
more picturesque and free, The plates which he 
) engraved at Rome are usually marked Gulielmus 
Castellus Gallus. He became an academician in 
| 1663, and died in Paris in 1683. The following 
are his principal works: 


A set of Portraits of the Popes. 
| Portrait of Jean Baptiste Colbert; oval. 
_ Portrait of the Bishop of Ruette. 
i The Virgin with the Infant Jesus, embracing a Cross. 
The Life of St. Theresa. 
The Miraculous Draught of Fishes; after Raphael. 
| The Baptism of Christ; after Albant. 
St. Paul restored to sight by Ananias; after Pretro da 
Cortona. 
The Martyrdom of St. Stephen ; after Annibale Carracct, 
The Assumption of the Virgin; after the same. 
. Christ appearing to St. Peter; after the same. 
The Repose in Egypt; after Correggio. 
The Holy Family, with St. John; after V. Poussin. 
The Israelites gathering Manna in the Wilderness; 
}2 after the same. 
. Christ healing the Blind; after the same 
St. Paul taken up to Heaven ; after the same. 
The Preservation of the Young Pyrrhus; after the same. 
Rinaldo and Armida; after the same. 
The Death of Germanicus ; after the same. 
The Virgin and Infant Jesus; after Noel Coypel. 
The Holy Family ; after the same. 


eee 
eas 


ANTOINETTE CHASTEAU, the wife of Guillaume 
Chasteau, was a daughter of the landscape painter, 
Antoine Hérault. She was born in Paris in 1642, 
and distinguished herself as a painter of miniatures, 
| executing both portraits and copies of the works of 
great masters, among the latter being the ‘ Family 


_may be cited the ‘Tepidarium at Pompeii’ (now 


PAINTERS AND ENGRAVERS, 


of Darius,’ after Lebrun. She married in 1686, as 
her second husband, the painter Jean Baptiste 
Bonnart, and died in Paris in 1695. 

CHASTEAU, Niconas, (or CHArEau,) a French 
engraver, was born in Paris about the year 1680, 
and died about 1750. We have the following 
plates by him: 

A Young Lady, with a Mask in her Hand; half-length ; 

after Santerre. 

A Young Lady in a Spanish Dress; half-length ; after 

the same. : ; 

Summer, represented by a female figure ; half-length ; 

after P. van den Berge. 

Venus and Adonis; after L. Silvestre. 

Daphne and Apollo; after the same. 

Rinaldo and Armida; after the same; finished by J. 

Audran. 


There was likewise a painter named NICOLAS 
pane who died in Paris in 1704, at the age 
of 44. 

CHASTEL, Francois pu. See DucHATEL. 

CHASTILLON, Craunsz, a French engineer, topo- 
grapher, and engraver, was born at Chalons-sur- 
Marne in 1547, and died in Paris in 1616. There 
is by him a valuable series of plates entitled, ‘ Topo- 
graphie francoise, ou représentation de plusieurs 
villes, bourgs, chasteaux, maisons de plaisance, 
ruines et vestiges d’antiquitez du royaume de 
France,’ published in 1641, and again with additions 
in 1647, 

CHASTILLON, Lovis pz, a French painter in 
enamel and miniature, and an engraver, was born 
at Ste. Ménehould in Champagne about 1639. He 
excelled in enamel painting, and executed all the 
portraits which the king gave, set in jewels, to 
the foreign ambassadors. He engraved several 
large plates after the designs of Tortebat, and ap- 
pears to have been an imitator of the fine style of 
Gérard Audran. His prints are not without merit, 
though greatly inferior to those of his model. He 
died in the Louvre in 1734. We have by him the 
following plates: 


The Adulteress before Christ ; after 8. Bourdon. 

The Conversion of St. Paul; after the same. 

The Seven Sacraments ; after Poussin. 

St. John in the Isle of Patmos; after the same. 

Jupiter and Leda; after the same. 

The Fates spinning the Destiny of Marie de’ Medici; 
after Rubens. 

Two sets of prints of the Fountains at Versailles. 

A set of plates of the Pavilions at Marly. 


CHATAIGNIER, Aterxis, a French engraver, 
born at Nantes in 1772, was a pupil of Quéverdo. 
He executed a large number of plates for Filhol’s 
‘Musée Frangais,’ and died in Paris in 1817, 

CHATARINUS. See VENETIIS. 

CHATEL, Francois pu. See DUCHATEL. 

CHATELAIN, JEAN BAPTISTE CLAUDE, an en- 
graver, was born in Paris about 1710. One account 
given of his history states that his proper name 
was Philippe, and that he served as a French 
officer in the campaign in Flanders, but afterwards 
devoted himself to the pursuit of art. He was 
endowed with extraordinary capacity ; and had his 
application been but equal to his genius, few 
would have surpassed him in the branch of art to 
which his natural disposition directed him. He 
had a peculiar talent for drawing landscapes, 
either from nature or his own fancy, with a readi- 
ness that was altogether surprising. Unfortunately, 
from his idle and dissolute course of life, he seldom 
exercised his abilities until compelled by necessity. 
The drawings, in chalk and with the pen, which 

285 


he has left make us deeply regret that the irregu- 


larity of his life has limited these admirable pro- 
ductions to a much smaller number than his 
uncommon facility would otherwise have secured 
to us. Chatelain was much employed by Boydell, 
especially in engraving with Vivarés the series of 
landscapes after Claude, Rembrandt, Guaspre, and 
others. Vivarés being more appreciated by the 
public, his name was often placed on plates en- 
graved by Chatelain alone, as in the case of a fine 
landscape after Pietro da Cortona, and another 
named ‘The Storm,’ in which Poussin has intro- 
duced the story of Pyramus and Thisbe. He en- 
graved, also for Boydell, eleven views in London 
and in Italy. He died in London in 1771. The 
following list comprises his most important works : 

The Four Times of the Day; etched by Chatelain, 

afterwards finished in mezzotint by Houston. 

Eight Landscapes ; after Gaspard Poussin. 

A Landscape; after Rembrandt. 

Eight Views of the Lakes in Cumberland and West- 

moreland ; after Bellers. 

Three Landscapes ; after Pietro da Cortona, N. Poussin, 

_ and F. Bolognese. 

Portrait of Crébillon. 

Portrait of Meunier de Querlon. 


CHATELET, Ciavpe Lovis, a French painter, 
was born in Paris in 1753. He produced Swiss 
views, sea-pieces, and pastoral scenes in the style 
of Vernet. Examples of his work are in the 
Orleans Museum, the Palace at Fontainebleau, and 
the Cottier Collection. He embraced with ardour 
the cause of the Revolution, allied himself with 
Robespierre and the leaders of the Jacobins, and 
became a member of the Revolutionary Tribunal. 
He was arrested some months after the 9th Ther- 
midor, tried, condemned, and executed in Paris, 
May 7th, 1795. 

CHATFIELD, Epwarp, a portrait painter, was 
born in 1802. He was a pupil of Haydon, and ex- 
hibited at the Royal Academy from 1827. He also 
painted some historical subjects—the ‘Death of 
Locke’ in 1833, the ‘ Battle of Killiecrankie’ in 
1836, and ‘Ophelia’ in 1837—but his powers were 
not equal to such works. He wrote some articles 
for ‘ Blackwood’s Magazine,’ and the ‘ New Monthly 
Magazine,’ and died in 1839. 

CHATILLON, Cuaruzs DE, a native of Doullens, 
was a French painter who executed a fine portrait 
of Napoleon I. as Emperor, of which there is an ex- 
cellent engraving by Audouin. This engraving is 
found surmounting a plate of ‘The Battle of Aus- 
terlitz,’ engraved by Duplessis-Bertaux, and finished 
by Bovinet. 

CHATILLON, Henri GuiLLAvmgE, a French line- 
engraver, and professor of drawing at the Military 
School of St. Cyr, was born in Paris in 1780. He 
was a pupil of both Girodet and Girardet. There 
exists a large series of lithographs of the drawings 
which he made for the use of his pupils. He died 
at Versailles about 1856. The following are con- 
sidered his best works: 

The Madonna with the Fish; engraved under Chatil- 

lon’s directions from his own drawing ; after Raphael. 

The Holy Family ; after Giulio Romano. (Musée Fran- 

als. 

i Btichael and the Dragon ; after Raphael. 

Endymion ; after Girodet. 

An Offering to Aisculapius; after Guérin. 

Angelica and Medora; after the same. 

CHATILLON, Louis pz. See CHAsTILion. 

CHATILLON, Paving. See GAUFFIER. 

CHAUBERT, GERMAIN, a French painter and 

286 


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: He 
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rare tot Be 
was — 
ee ae at 
8. 


engraver, was born at Grisolles in | 
painted an ‘Assumption of the Virg 
graved an ‘Ecce Homo,’ after Mignard. | 
designer and engraver to the Academy of 
at Toulouse, and died in 1821, 

CHAUDET, AnrToingz DENIs, a disting 
French sculptor, who was also an historical — 
painter, was born in Paris in 1763. When at _ 
Rome he studied particularly the works of Raphael, __ 
and has left behind him a picture on the subject of 
‘ineas and Anchises.’ The edition of Racine 
published by Didot in 1801—1805, contains some 
illustrations after his designs. He was elected a 
member of the Institute in 1805, and died in Paris 
in 1810. i a 

His wife, JEANNE ExisaBeTH GaAsiou, was like- 
wise an artist of talent. She was bornin Parisin 
1767, and married in 1793. Her studies were 
made under the direction of Madame Lebrun and 
of her husband, and in 1799 she exhibited her best _ 
work, ‘ L’Kducation du Carlin.’ She also painted __ 
some good portraits. After the decease of Chaudet __ 
she married, in 1812, M. Husson, and died in Paris 
in 1832. 

CHAUFOURIER, JEan, a French landscape 
painter and engraver, was born in Paris in 1675. 
He married a daughter of the celebrated engraver, 
Gérard Edelinck, and taught drawing to Mariette. _ 
He was received into the Academy in 1735, and died 
at St. Germain-en-Laye in 1757. There arethree 
of his drawings in the Louvre, and we have a set 
of eight landscapes engraved by him. 

CHAUVEAU, Evrarp, a French painter, the son 
of Frangois Chauveau, was born in Paris in 1660, 
and studied under his father and Henri Lefebvre. 
He was largely employed at Gaillon by Archbishop 
Colbert, and in 1695 went to Sweden, where he 
painted many ceilings and decorations for the 
palaces of the Queen and nobles. He died in 
Paris in 1739. 

CHAUVEAU, Frangois, a French painter and 
engraver, was born in Paris in 1613. He studied 
under Laurent de La Hyre, and painted small pic- __ 
tures in the style of that master, but not meeting 
with much success, he devoted himself entirely 
to engraving. His first attempts were with the 
graver, but he soon exchanged it for the point, 
with which he could give more rapid expression to 
the creations of a lively and fertile genius. His 
smaller plates are much in the manner of Sébastien 
Leclerc, and these are his best works. He is 
said to have produced upwards of three thousand _ 
plates, most of which were for the illustration of 
books. He was received into the Academy in 
1663, and, died in Paris in 1676. He was the 
father of Evrard Chauveau, the painter, and René 
Chauveau, the sculptor. His plates are signed 
FC fe.; FC met fc; FO. me sc; F.C.; 
Ff. Ch. d. ; or with ciphers. The following are 
his principal works: 


i 
a . 


0 
He 


a 
+ rad 


SETS OF PRINTS. 


Les Délices de 1’Esprit ; fifty plates, designed and en- __ 
graved by himself. a 

Nineteen plates for the History of Greece. 

Many plates for Benserade’s translation of Ovid’s ‘ Meta- 
morphoses.’ 1676. 

The Bible History ; in nineteen plates. 

Several plates for Tasso’s ‘ Jerusalem.’ 

The same for the Fables of La Fontaine. 

Some plates for Scarron’s ‘ Virgile Travesti? 

Twenty-one plates for the poem of Clovis. 

Twelve plates for the Pucelle d’Orléans, 


ls 


hundred and forty-three medals in the collection 
f F. Orsini. } 


_ DETACHED PRINTS AFTER HIS OWN DESIGNS. 
The Annunciation. 

The Repose in Egypt. 

__The Virgin and Child, with St. John. 

_ -‘ The Crucifixion. 

The Mystery of the Sacrament ; 1676; in two sheets. 
_- Meleager and Atalanta; circular. 

Venus and Adonis ; the same. 


- The Carrousel of 1662. 
_ His own Portrait. 


SUBJECTS AFTER VARIOUS MASTERS. 


 Obrist with the Disciples at Emmaus; after Titian hd 


the same subject that is so finely engraved by Masson, 
called the ‘ Table-Cloth, 
_ A Concert; after Domenichino ; also engraved by Picart. 
‘The Life of St. Bruno; after the pictures by Le Sueur, 
_ originally in the Convent of the Carthusians at Paris ; 
__ twenty-three plates. 
_ The Nativity ; after L. de La Hyre. 
_ The Holy Family ; after the same. 
_Meleager presenting the Head of the Boar to Atalanta; 
after the same. ; 
cigs eanaptal Arch for the Place Dauphine; after 


n. 
Portrait, of Rabelais ; frontispiece to the first edition of 
his ‘ Epitres,’ 1651. 


CHAUVIN, Pizrrz ATHANASE, a French land- 


_ scape painter, was born in Paris in 1774. He was 


a pupil of Valenciennes, and passed the greater 
part of his life at Rome, where he died in 1832. 
Many of his works are in England, Russia, and 
Germany, A ‘ View in the environs of Naples’ is 
in the Museum of Montpellier. 


CHAVANNE, Pierre Satomon DomENCHIN DE. 
See DoMENCHIN DE CHAVANNE, 


CHAVARITO, Domingo, a Spanish historical 
painter, was born in Granada in 1676, and there 
learned the rudiments of art from Josef Risuefio. 
He afterwards went to Rome and studied under 
Benedetto Luti, but returned to his native city, and 
died there in 1750. His works, which are chiefly 
in the private houses of Granada, are good in 
colour and in composition. 

CHAZAL, Anrornn, a French painter of flowers 
and of portraits, as well as an engraver, was born 
in Paris in 1793. He studied under Misbach, 
Bidauld, and Van Spaendonck, and became Pro- 
fessor of Iconography at the Jardin des Plantes, 
Besides portraits, flowers, and fruit, he painted a 


_few landscapes and altar-pieces for churches. He 


also engraved a portrait of Cardinal La Fare. 
Chazal died in Paris in 1854. 

CHAZAL, Cuartes CamILuz, a French painter, 
and son of Antoine Chazal, was born in Paris in 
1825. He studied under Drolling and Picot, and 
entered the Ecole des Beaux-Arts in 1842. His 
‘Institution of the Eucharist,’ painted in 1863, is 
in the church of St, Louis-en-l’Ile at Paris. He 
died in 1875. 

CHAZERAND, Cravpz Lovis ALEXANDRE, a 
French historical painter, was born at Besancon 
in 1757. The Museum of his native city has some 
paintings and sketches by him which are not with- 
out merit. He died at Besancon in 1795, 

CHEDEL, QuinTIN Pierre, a French designer 
and engraver, was born at ChAlons-sur-Marne in 
1705. He received his earliest instruction in the 
studio of Le Moine, but having chosen engraving 
as his profession, he afterwards became a pupil of 
Laurent Cars. His talent in designing and engrav- 
ing vignettes caused him to be much employed by 


ce PAINTERS AND ENGRAVERS. 


the booksellers of Paris, His plates are etched 
with great spirit, and sometimes finished with the 
graver in a style of unusual ability. He died at 
Parisin 1762. Among his numerous works the best 
known is the series of illustrations after Boucher 
to Duclos’ romance, ‘Acajou et Zirphile’; the 
following are also deserving of notice: 


SUBJECTS FROM HIS OWN DESIGNS. 


A set of six Landscapes; dedicated to Madame de Pom- 
padour. 
Six plates of Battles; dedicated to Count Turpin de 
Ceissé. 
The Village Wedding, and the Village Feast. 
fev Landscapes with Ruins, called ‘Les Ruines de 
umes.’ 


SUBJECTS AFTER VARIOUS MASTERS. 


Four of Attacks of Cavalry ; after Van derMeulen. 
Four of Landscapes with Ruins; after Boucher. 

Two of Sea-pieces with Fishermen ; after A. Willaerts. 
Day-break, a Landscape ; after Teniers. 

A Landscape, figures and horses; after Wouwerman. 

A Sea-port ; after the same. 

The Writing School ; after Ostade. 

The Reading School; after the same. 


CHEESMAN, Tuomas, a pupil of Bartolozzi, 
was a well-known engraver, who was born in 1760. 
He worked both in stipple and in mezzotint, Among 
his best works are some portraits after Romney, and 
‘The Lady’s Last Stake’ after Hogarth. He alse 
exhibited water-colour drawings at the Academy. 
He died about 1820, the date of his last exhibition. 

CHELINI, Piro, a painter of Florence, who in 
the 15th century executed frescoes in the Bigallo of 
that city, consisting of scenes from the life of St. 
Peter Martyr, and representations of the reception 
of lost children (the purpose of that building) ; these 
he completed in 1444. A ‘Burial of Christ’ in the 
belfry of San Remigio is also by him. . 

CHENAVARD, Arims#, a French decorative 
painter and draughtsman, was born at Lyons in 
1798. He published ‘Nouveau Recueil de Décor- 
ations intérieures,’ 1833-35, and ‘Album de I’Or- 
nemaniste,’ 1835. He died in Paris in 1838. 

CHENDA, It. See RIvARona. 

CHENOIS, Craupe, a French historical painter, 
was a native of Lorraine, and flourished at Nancy 
in 1527. The Museum of that city possesses a 
picture by him which shows considerable talent. 

CHENU, Avaustin Fievry, a French landscape 
painter, was born at Lyons about 1835. He re- 
ceived his art education in the Academy of his 
native city, and became a successful painter of 
snow-scenes. He died in 1875. 

CHENU, Pierre, was a French engraver, born 
in Paris in 1718. He was a pupil of P. Le Bas, 
and engraved several portraits and other subjects, 
in a slight, agreeable style. Several of his engrav- 
ings were executed for the work on the Dresden 
Gallery. He likewise engraved some of Oudry’s 
designs for La Fontaine’s Fables, and some plates 
after Eisen for the ‘Christiade’ of the Abbé de 
La Baume-Desdossat. He died about 1780. We 
have also by him the following: 


PORTRAITS. 


Francis I., King of France; after Niccolo dell’ Abbate. 

Antoine Perrenot, Cardinal de Granvelle. 

Pierre Carlet de Champlain de Marivaux, of the French 
Academy. 

Madame Favart, actress ; after Garand. 

Bust of Diderot. hae : 

Count Caylus’s Monument at St. Germain |’Auxerrois. 


287 


SUBJECTS AFTER VARIOUS MASTERS. 
The Adoration of the Shepherds ; after Bassano. | 
Christ driving the Money-changers from the Temple; 
after the same. 
The ancient Temple at Ephesus; after Breenberg. 
_ Ruins at Ephesus ; after the same. 
A Landscape, with cattle ; after A. van de Velde. 
The Sailor’s Amusement ; after D. Teniers. 
The Dutch Baker ; after A. Ostade. 
View of the Castle of St. Angelo; after Vernet. 


His two sisters, TH#RESE and VICTOIRE CHENU, 
also received lessons from Le Bas, and engraved 
some landscapes. 

CHEREAU, Francois, a French engraver, was 
born at Blois in 1680, He was a pupil of Gérard 
Audran, and of Pierre Drevet, the elder, and proved 
himself a worthy successor of these masters. He 
distinguished himself by the beauty of his touch 
and the correctness of his drawing, particularly in 
his portraits, some of which are admirable. His 
portrait of the Duke of Antin, after Rigaud, which he 
engraved twice, has rarely been surpassed. He died 
in Paris in 1729. The number of his plates is con- 
siderable, but the following are the most esteemed : 


PORTRAITS. 


Louis de Boullongne; after himself ; engraved by Chereau 
for his reception into the Academy in 1718. 

Nicolas de Largilliére, painter ; after himself. 

Cardinal André Hercule de Fleury ; after Rigaud ; fine. 

Cardinal Melchior de Polignac; after the same; very 


fine. 
Louis Antoine de Pardaillan de Gondrin, Duke of Antin ; 
after the same. 
Nicolas de Launay ; after the same. 
Conrad Detlev von Dehn; after the same; very fine. 
Louis Pecour, Maitre de Ballet; after Tournzeéres. 
Elisabeth Sophie Chéron, painter ; after herself. 
Louisa Mary, Princess of England; after A. S. Belle. 
The Princess Sobieska ; after Trinisant. 


SUBJECTS AFTER VARIOUS MASTERS. 


St. John in the Wilderness; after the picture by 
Raphael, in the Orleans Gallery. 

The Crucifixion ; after Guido. 

St. Catharine of Siena; after J. André. 

St. Cecilia; after Mignard. 

St. Theresa in Contemplation. 

St. Ignatius de Loyola, Founder of the Society of Jesus. 


CHEREAU, Jacquzs, the brother and pupil of 
Frangois Chereau, was born at Blois in 1688. He 
engraved portraits and historical subjects, and was 
little inferior to his brother, but he did not execute 
many plates, having quitted the graver to follow 
the business of a printseller. He came to England, 
but not meeting with much encouragement, he 
returned to France, and died in Paris in 1776. The 
following are his best works: 


PORTRAITS, 


Marie Leszczynska, Queen of France; after Van Loo 

Madame de Sabran ; after the same. 

Madame de Prie; after the same. 

Henri, Duke of Harcourt, marshal of France; after 
Rigaud. 

Madame de Sévigné. 

George I., King of Great Britain ; profile, after Kneller. 

Jeanne d’Aragon, Queen of Sicily ; after Raphael. 


SUBJECTS AFTER VARIOUS MASTERS. 
The Holy Family ; after Raphael ; in the Crozat Collec- 


tion. 
La Belle Jardiniére ; after the same ; in the same Oollec- 
tion. 
The Transfiguration ; after the same. 
David with the Head of Goliath; after Teti; very fine. 
wine and Bathsheba; after Raoux. 


| Francois Chereau, born in 1748, was like 


Christ washing the Feet of the - 

Bertin. , yi fee his. 
Vertumnus and Pomona ; after F. Maro 
The Descent from the Cross ; after Char 


io See 
Jacques FRangols CHEREAU, the gran 


engraver and printseller. 
CHERET. See LAcHAumE. ee 
CHERON, E.isaseTH SOPHIE, a mil 
painter, was the daughter of Henri Chéron, 
was born in Paris in 1647. She learnt the eleme: 
ary principles of design from her father, and exe- 
cuted with much grace portraits, many of which 
were of ladies, in water-colour, oil, pastel, and a 
enamel; her colouring being pleasing and her 
draperies well handled. She produced also numer 
ous drawings of bas-reliefs and cameos after th 
antique. She was admitted as a painter into the 
Academy at Paris in 1672, painting her own por- 
trait upon the occasion, and into that of Padua 
in 1699. She was a lady of some literary power, 
accomplished as a musician and a poetess. It i 
stated that she was enrolled in the Academyin the 
latter capacity in 1676. She married, in 1708, 
Jacques Le Hay, an engineer, being at thattimea 
member of the Roman Catholic Church, though she 
had been brought up in the Protestant religion. _ 
There is an engraved portrait of her which she 
executed in part in 1694, and which was subsequent- 
ly finished by C. Simonneau. She died in Paris in 
1711. She has left us some 59 plates either etched or 
engraved, among which may be mentioned:- __ 


The Descent from the Cross (1710); fram her own 
painting after a design of the Abbé Zumbo. 

St. Cecilia, St. Mary Magdalen, St. Augustin, St. John, 
and St. Paul; after Raphael. 

Four plates of Gems (two dated 1710). a 

A drawing-book of thirty-six prints; published in 1706. 


CHERON, Henri, a miniature painter and en- _ 
graver, was a native of Meaux, where he worked 
about the middle of the 17th century. Wehavebut 
one engraving by him; a spirited portrait touched 
with considerable delicacy, representing Peter Du- 
moulin, a Calvinist Minister, who died at Sedan in 
1658. Henri Chéron was the father of Louis, ; 
Elisabeth Sophie, and Marie Anne Chéron. He 
died at Lyons in 1677. 

CHERON, Louis, a French painter and engraver, 
was born in Paris in 1655. He was instructed by 
his father, Henri Chéron, and went to Italy, where 
he studied the works of Raphael and Giulio Romano. 
Returning to Paris in 1688, he painted for the cathe- 
dral of Notre-Dame two pictures, representing the 
‘Prophet Agabus before St. Paul,’ and ‘ Herodias 
with the Head of St. John the Baptist.’ His drawing 
is correct, but his colouring is cold and feeble, and 
his composition tame and inanimate. Being a 
Calvinist, the religious troubles which were then 
rife obliged him in 1695 to leave France, when he — 
came to England, and was employed by some of 
the nobility, and more particularly by the Duke of 
Montagu, for whom he painted some ornamental _ 
works. His ‘Diana and her Nymphs bathing’ has 
been engraved by Baron; and his picture of ‘The 
Marriage of Charles I. and Henrietta Maria, by 
Dupuis. He died in London in 1725. This artist 
engraved some plates from his own designs, which 
are for the most part well drawn, with a distinct 
attempt at Raphael’s style, but are deficient in 
general effect, the smaller plates for the Psalms ~ 
being very indifferent works. He also made designs 


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Fi 


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a ne 


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the Roman Catholic faith. 


- did not return till 1802. 


=<? 


h 


Foe 


oie , 

an edition of ‘ Paradise Lost’ published in 1720. 

ave by him: ia ; 

St. Peter healing the Lame at the Gate of the Temple. 

.e Death of Ananias and Sapphira. 

_ The Baptism of the Eunuch by St. Philip. 

_ Hercules reposing after his Labours ; fine. 

sae slaying the Wild Boar: jinished by Van der 
t. 


Twenty-three subjects for his sister Sophie’s poetical 
_ version of the Psalms of David. 1694, 


_CHERON, Marie Anne, a French miniature 


painter, and sister of Elisabeth Sophie and Louis 
__ Chéron, was born in Paris in 1649. She was by 


birth a Protestant, but in 1668 became a convert to 
In 1701 she married 


_ __ the painter Alexis Simon Belle, and died not later 
than 1718, 


CHERPIGNON, —, was a French engraver, 


_ by whom, amongst other prints, we have a plate 
_ representing the ‘ Holy Family,’ in which the Virgin 
_ is seated with the Child asleep on her lap, whilst 

St. Joseph leans on a large stone behind her; it is 
_ after a picture by Laurent de La Hyre. It is etched 


in a free and spirited style, and retouched with 


_ the graver in a masterly manner. 


CHERY, Puuiirrg, a French historical and por- 


_ trait painter, born in Paris in 1759, was a pupil of 


Vien. He took an active part in the French Revo- 
lution, was wounded at the siege of the Bastille, 
and on the 18th Brumaire left France, to which he 
He painted ‘The Annun- 
ciation’ in the church of Generville, ‘ St. Benedict 
receiving the Viaticum,’ and two other religious 
subjects, which are in the church of Boulogne-sur- 


Mer, ‘St. Cecilia,’ in the Benedictine Convent in 
the same town, and several other scriptural and 


religious subjects. He also painted ‘The Treaty of 
Amiens,’ for which he received the prize of 12,000 
francs in the competition in the year XI.; ‘The 
Death of the Father of Louis XVI.,’ exhibited in 
1817; ‘“Thrasybulus re-establishing the Democratic 
Government at Athens,’ which passed into England, 
‘The Death of Alcibiades,’ ‘The Birth of Venus,’ 
‘The Toilet of Venus,’ and portraits of many of 
the lf of mark of the time. He died in Paris in 
1838. 

CHESHAM, Francis, a designer and engraver, 
was born in 1749, and died in London in 1806. We 
find mention of the following plates by him: 

Moses striking the Rock ; after his own design. 
Distant View of the Iron Mines in Coalbrookdale ; after 
G. Robertson. 1788. 

Several Views ; after Paul Sandby. 

Britannia ; after Cipriani. 

Admiral Parker’s Victory in 1781. 

CHESNE, Niconas pu. See Du CHESsNE, 

CHEVALIER, Hippotyre Guitiaume SuLprice, 
better known as GAvARNI, a pseudonym which he 
appears to have borrowed from the place from 
which he dated his first designs, was born in Paris 
in 1804. He began life in the workshops of an 
engineer, where, showing a talent for drawing, he 
was employed in sketching professional plans; but 
not till 1835 did he exhibit any signs of his future 
skill as a caricaturist. About that date he under- 
took the editorship of ‘Les Gens du Monde,’ a 
series of satirical sketches of Parisian youth. 
He afterwards conducted the ‘Charivari,’ and 
came to England in 1848 in consequence of the 
French Revolution. Whilst here he published a 
series of sketches, entitled ‘Gavarni in London,’ 
but these did not meet with any great success. 
He was one of the most clever caricaturists that 

U 


PAINTERS AND ENGRAVERS. 


has ever lived, and hit off, with a few strokes of the 
pencil, the social life of Paris, from the highest 
to the lowest grade, with great truth and skill. 
Among his works we may mention ‘Les Enfants 
Terribles,’ ‘Les Parents Terribles,’ and his ‘ Maris 
Vengés ;’ he also illustrated some of Hoffmann’s 
and Schmidt’s tales in quite a different style. He 
died at Auteuil in 1866. 

CHEVILLET, Jusrus, was a German engraver, 
born at Frankfort-on-the-Oder in 1729. He was 
first a pupil of G. F. Schmidt at Berlin, but after- 
wards went to Paris, where he was instructed by 
J.G. Wille. He engraved several plates of sub- 
jects, principally from French artists, in a neat 
style. He died in Paris in 1790. We have by him, 
amongst others, the following prints: 

Portrait of Jean Baptiste Siméon Chardin; after 

Chardin ; his best work. 

Portrait of M. Lenoir ; after Greuze. 

La Santé portée, and La Santé rendue ; after Ter Borch. 

A Girl sewing and another spinning ; after Heilmann. 

A young Girl caressing a bird; after a drawing by 

Wille. 

The young Coquette ; after J. Raoux. 

The dangerous Beauty ; after Santerre. 

The Death of General Montcalm ; after Watteau. 

CHEVREVILLE, See Lancuois pz CHiVREVILLE. 

CHEVRON, Benofr Josepy, a French line-en- 
graver, was born at Lyonsin 1824. He was a pupil 
of Vibert, and died at Villefranche in 1875. His 
best plates are the ‘Kiss of Judas,’ after Ary 
Scheffer, the ‘Assumption of the Virgin,’ after 
Guido Reni, and the ‘ Maison Mame.’ 

CHIALLI, Vincenzo, was born at Citta di 
Castello in 1787. After having learned the rudi- 
ments of art in that town, he visited Rome at the 
age of seventeen years, and became a disciple of 
Camuccini, whom he afterwards imitated. After 
leaving Rome he painted religious subjects at Borgo 
San Sepolcro, Urbino, Pesaro, and Venice, from 
whence he retraced his steps to Rome; but as the 
climate did not suit him, he left that city in 1822 
and returned to Citta di Castello, He became 
Director of the School of Painting at Cortona in 
1835, and died in 1840. His genre and historical 
paintings gained him considerable credit. The most 
important are: 


The Churchyard 3} jth in the Pitti Palace at Florence. 
The Mass ; 


Dante in the Abbey of Fonte Avellana. 
Raphael and Fra Bartolommeo in the Convent of San 
Marco. 

The young Raphael with his Parents. 

CHIAPPE, Giovanni BATTISTA, was born at 
Novi in 1723. After studying some time at Rome, 
he settled at Milan, where, according to the 
Cavaliere Ratti, he painted some pictures which 
gave promise of great ability. His best work was 
in the church of Sant’ Ignazio at Alessandria, 
representing ‘St. Ignatius with a Glory of Angels,’ 
grandly conceived and composed, the figure of the 
Saint commanding and majestic, and of a fine ex- 
pression, This artist died in the midst of a flatter- 
ing career in 1765; and with him, says Lanzi, 
perished the last remains of Genoese art. 

CHIARI, Faprizio, a painter and engraver, was 
born at Rome, according to Orlandi, in 1621. He 
painted some frescoes in the palaces at Rome, and 
died in 1695. We have some etchings by this 
artist after N. Poussin, executed in a scratchy but 
masterly style, amongst which are: 

Mars and Venus, ina landscape ; Fabritius Clarus. 1635. 

Venus and Adonis; signed Nicolaus Pussinus in. f. 


289 


ae 
EP a5 


A BIO 


This etching has beep attributed to N. Poussin, but CHIMENTI, Jacoro, called : k 


it is by Chiari. at 

Venus and Mercury, with Children. 

CHIARI, GiuseprE, was born at Rome, in 1654, 
He was a scholar of Carlo Maratti, with whom he 
executed many excellent easel pictures,and added to 
the unfinished works of Berrettini in Santa Maria 
del Suffragio at Rome, the ‘ Nativity’ and the 
‘Adoration of the Magi.’ His cabinet and easel 
pictures are preferable to his larger works, although 
he painted several frescoes of religious, historical, 
and mythological subjects in the Colonna and 
Barberini palaces, and on the ceiling in Santa Maria 
di Montesanto. In the Spada Palace are four pic- 
tures by him of subjects from Ovid; in the Dresden 
Gallery is an ‘ Adoration of the Magi;’ and his own 
portrait by himself is in the Uffizi, Florence. Three 
examples of his art are at Hampton Court, and in 
the collection of Lord Scarsdale at Kedleston Hall, 
is a ‘Holy Trinity.’ He died at Rome in 1727. 

CHIARINI, Marcantonio, was born at Bologna 
in 1652, and was first a scholar of Francesco 
Quaino, under whom he remained four years; he 
afterwards studied under Domenico Santi. He ex- 
celled in painting architectural views, in which the 
figures were sometimes introduced by Sigismondo 
Caula. He was much employed by the nobility 
at Bologna, Modena, and Milan; and his pictures 
were in great estimation. He assisted Carlo Carlone 
in his decorative fresco paintings in the Marble 
Hall of the Belvedere, Vienna. He died in 1730. 

CHIAVEGHINO, In. See MAinarpi, 

CHIAVISTELLI, Jacopo, a Florentine painter 
of perspective and architectural views, was born in 
1618. He first studied under Fabrizio Boschi and 
B. del Bianco; but he received his best instruction 
from Michelangelo Colonna. He painted chiefly 
in fresco, and was employed in several works at 
Bologna and Florence, particularly in the palace of 
the Grand-Duke. He died in 1698. His own por- 
trait by himself is in the Uffizi, Florence. 

CHIBOUST, —, was a French engraver, who 
flourished about the year 1680. He etched a plate, 
representing Dutch Boors playing at cards, which 
was probably from his own design, as it is signed, 
Chiboust fecit. There are also by him a ‘ Repose,’ 
and various landscapes engraved after J. F. Millet, 
and other artists. 

CHIESA, SILvEsTRO, an Italian historical painter, 
was born at Genoa about 1623. He was a pupil of 
Luciano Borzone, and when not more than eighteen 
years of age had gained a great reputation by his 
portraits, which were often painted from memory. 
He gave promise of becoming a great artist, when 
he was cut off by the plague at Genoa in 1657. 

CHIESE, GIoVANNI DELLA. See DELLA CHIESE, 

CHIFFELIN, Ouivigr, a distinguished historical 
painter of the 15th century. He was a native of 
Angers, and was commissioned in 1487 by Philippe 
de Commines to decorate his chateau of Dreux, 
the chapel of which has been described in the 
most glowing terms. 

CHILD, James WARREN, a miniature painter, 
exhibited for many years at the Royal Academy. 
His chief sitters were actors and actresses. He 
died in 1862, aged 84, 

CHILDE, EttAs, a landscape painter, exhibited 
at the Society of British Artists from 1824 to 1848. 
He also contributed to the exhibitions of the Water- 
Colour Society and the Royal Academy. A moon- 
light composition by him is in the South Kensing- 
ton Museum. 

290 


APHICAL DIC 


RUC 


Riper MO RD SINS eh 
= iia 


ve 


> 
4 


x ‘ 
Le A 
Re 


was born at Empoli, near Flor 
He was a disciple of Tomaso Manzuo 
Friano, whose style is discernible in all his 
he also studied the works of Andrea de 
whom he copied with success. His pictures po 
sess an elegance of design, and a graceful impas 
of colouring, which distinguish the productions 
his master. The Abbate Morenispeaks in favourab 
terms of his fresco works in the Certosa,andin the — 
monastery of Boldrone at Florence, but a fallfrom __ 
the scaffolding obliged him afterwards to confine oe i 
himself to‘oil-painting. One of his best pictures is _ 
his ‘St. Ives,’ in the Uffizi at Florence, which, from 
its pleasing and graceful effect, is more generally _ 
admired than works of higher pretensions. He — 
died in 1640. The following are among his 
paintings: : nae 
Florence. Academy. The Call of St. Matthew. 

» SS. Annunziata. Virgin and Saints. we leas 

» S. Maria Novella. 8t. Hyacinth. ie NN 

», Casa Buonarroti. Michelangelo before Leo. X.— 


Fresco. = 
“A Ufizt. St. Ives, Protector of Orphans. — 


His own Portrait. 


9 ” % Bae 
Madrid. Museum. Christ on the Mount of Olives. 
Paris. Louvre. Virgin glorified. 3 . aa 
Pistoia. S. Domenico. Miracles of St. Charles Borromeo. 
Vienna. Susanna at the Bath. ; 


CHINNERY, Georcs, exhibited portraits at the 
Royal Academy from 1791 to 1846. He at one 
time resided in Dublin, and in 1798 was elected a 
member of the Royal Hibernian Academy. He 
etched some portraits, which show much ability, 
and made spirited sketches of scenes in India and 
China, where he lived for nearly fifty years. He 
died at Macao about 1850. 

CHINTREUIL, Anroing, a French landscape 
painter, was born at Pont-de-Vaux (Ain) in 1816. 
He showed an early taste for drawing, and took to 
teaching it in order to support his family. Later 
on he opened a bookshop in Paris and continued — 
his drawing work in the evenings, till meeting with 
assistance from Beranger he was able to establish 
himself in Tournelle Septeuil near Nantes, and 
devote himself entirely to his art. He painted, 
although only self-taught, landscapes remarkable 
not merely for originality but also for deep feeling. 
He fell a victim to over-exertion in his youth, 
combined with disappointment at the difficulty he 
experienced in finding purchasers for pictures 
which now realize very high prices. Amongst his 
works may be noticed ‘Morning in the Country,’ 
‘A Shower on the Plain,’ ‘Entrance to a Wood,’ 
and ‘After a Storm.’ Two landscapes by him 
are in the Lille Museum. He died in 1873. 

CHIODAROLO, Giovanni Maria, a Bolognese 
painter, was living in the 15th century. Little 
further is known of him than that the fresco of __ 
‘An Angel crowning St. Valerian and St. Cecilia,’ _ 
executed about 1509, in the oratory of St. Cecilia, 
attached to San Giacomo Maggiore, in Bologna, is _ 
by tradition assigned to him. It is part of a series, 
the rest of which were done by Francia, Aspertini, 
and Costa. A‘ Nativity’ in the Bologna Gallery 
is also ascribed to Chiodarolo. . 

CHIRINOS, Juan br, a Spanish painter, was 
born at Madrid in 1564, He was probably a 
scholar of El Greco, and painted, in conjunction — 
with Bartolomé de Cardenas, the greater part of 
the pictures in the convent of Our Lady of Atocha, 
at Madrid. He was an artist of great merit, and 
died at Madrid in 1620, 


“e HOLM, ALEXANDER, was born at Elgin 
in the year 1792 or 1793, and at an early age was 
apprenticed by his father to a weaver at Peterhead. 
He had a great aversion to the trade, and his predi- 
lection for art was so strong that he was accus- 
tomed to sketch figures upon the cloth on which he 
was occupied at the loom, and when his leisure per- 
_ mitted him to resort to the sea-shore, he found great 

pleasure in sketching on the smooth sand. When 
about fourteen years of age, he walked from Peter- 
head to Aberdeen, where he received his first 
lessons in light and shade. At this time there was 
_ a meeting of the Synod, the members of which he 
was permitted to sketch; and his work gave such 
- satisfaction, that he was forthwith commissioned 
_ to paint it, but this he was compelled to decline, 
as he was totally ignorant of the use of colours. 
_ He must have employed his leisure profitably, for 
_when about twenty years of age he went to Edin- 
burgh, where he was patronized by the Earls 
_ of Elgin and Buchan, and was subsequently ap- 
pointed an instructor at the Royal Scottish Aca- 
__ demy. In 1818 he went to London, still under the 
- patronage of the Earl of Buchan, and met with 
much encouragement. In 1829 he became an 
_ Associate Exhibitor of the Water-Colour Society 
_ and frequently sent works to that Institution. His 
favourite department of art was history, but he also 
_ painted portraits with eminent success. Having 
_ suffered from severe illness during nine years be- 
_ fore his death, his later productions do not exhibit 


fan 


MTS Sa Spe A Gi Spa tment 


‘The Pedlar,’ a water-colour paint- 
_ ing by him, is in the South Kensington Museum. 
He died at Rothesay, in the Isle of Bute, in 1847. 
I ‘The following are some of his most important 
_ works exhibited at the Royal Academy : 


Boys with a Burning Glass. 1822. 


| ‘The Cut Foot. 1823. 
Baptism of Ben Jonson’s Daughter (with portraits o 
ae “gr teal Jonson, Beaumont, Fletcher and Raleigh). 
The Lords of the Congregation taking the oath of the 
4 Covenant. 1842. 
__ The Minister and his Wife concealing the Scottish 
_- Regalia in the Church (his last work). 1846. 


_ CHODOWIECKI, Dantet Nicoxavs, a painter 
) and engraver, was born at Dantzic in 1726. He 
was obliged at first to devote himself to shopkeep- 
ing, and could only practice drawing and painting, 
_ which he did in company with his brother Gott- 
fried, in his leisure moments—both of them having 
| received some instruction from their father. His 
progress at last enabled him to follow these studies 
_ alone. He took to copying engravings and then 
to painting enamel snuff-boxes, in which he was 
aided by Haid the Pole, and in which he made 
_ experiments with designs of his own. He then in 
_ 1745 tried miniature-painting ; his portraits, which 
were remarkable for their characteristic resemblance 
_ and lifelike qualities, meeting with a favourable re- 
ception in all quarters. At this time he improved 
) himself by practising drawing in Rode’s studio, 
_ and then turned his attention to oil painting. Thus 
_ far he had only the nights to devote to these employ- 
_ments. His first essay in etching was made in 
| 1758. His etchings were drawn with such spirit 
_ that they soon attracted the attention of connois- 
_ seurs, and when he had painted the ‘Separation of 
Jean Calas from his family,’ and, in accordance 
' with the wishes of his friends, had made an 
| etching from that picture, his fame was fairly 
| U2 


| 
b 


] 
‘| 


er PAINTERS AND ENGRAVERS. 


established. Orders from amateurs and dealers 
became so numerous that he was obliged to aban- 
don his miniature-painting. The Academy of 
Painting received him as its Rector in 1764. In 
1773, he made a journey on horseback to Dantzic, 
taking sketches of whatever there might be of 
interest on the route. On this journey, and during 
nine weeks spent in Dantzic, he kept a diary with | 
drawings, preserved in the Berlin Academy, which 
presents a most life-like picture of the then social 
condition of that city. On his return he received 
commissions from Lavater, for whom he executed 
many designs and some copper-plate engravings 
for his‘ Essays on Physiognomy.’ His fame spread 
so wide that it was with the greatest difficulty 
that he could meet the demands of the book- 
sellers for drawings and engravings for books and 
almanacks, The number of paintings, designs, and 
etchings which he produced at this period was some- 
thing prodigious. This severe labour was injurious 
to his health, and during the last twenty years of 
his life he suffered from swollen feet—but that did 
not prevent his following his ordinary pursuits. 
He became Vice-Director of the Academy in 1788, 
and Director in 1797. He was active and laborious 
up to within a few weeks of his death, which took 
place at Berlin in 1801. The Berlin Museum con- 
tains ‘ Blindman’s Buff’ and ‘ Der Hahnenschlag,’ 
both of the year 1768. 

Chodowiecki was a highly-gifted artist, who 
owed all his knowledge of art to his own study. 
This lack of instruction was the real cause why 
works on a larger scale lay beyond the limits of 
his artistic sphere, but the same reason led to his 
smaller works being so carefully finished. The 
genuine originality displayed in them, and a cer- 
tain easy spiritual rendering, stamp most of his 
works with a peculiar character. He represents 
the feelings and affections, virtues and vices, just 
as he had observed them around him, with singular 
acuteness. Not unfitly has he been spoken of as 
the great depictor of the morals of his day. His 
productions are not disfigured by anything in the 
way of excess or defect. His drawings are marked 
by delicate but at the same time firm and clear 
outlines, the shadows being worked in with a light 
hand, but well defined. His early works in enamel 
are small masterpieces in respect of finish, and 
are full of life, grace, and cheerfulness, The same 
holds true of his miniatures. His performances 
in oil painting scarcely went beyond the range of 
experiments. As an engraver of small subjects he 
stands almost unsurpassed. He was the founder 
of a new style, representing modern figures with 
such truth and animation, and at the same time 
with such correctness of outline, as had till then 
never been thought possible on so small a scale. 
Apart from single plates, he illustrated with designs 
of his own composition the principal literary pro- 
ductions of his time, such as ‘ Minna von Barnhelm,’ 
‘The Vicar of Wakefield,’ ‘Gellert’s Fables,’ ‘ Gil 
Blas,’ Schiller’s ‘ Robbers,’ Sterne’s ‘Sentimental 
Journey,’ as well as ‘ Don Quixote,’ and the works 
of Shakespeare and Voltaire. 

Chodowiecki’s etchings and engravings amount to 
2075 distinct works upon 978 plates. They are fully 
described in Engelmann’s ‘Daniel Chodowiecki’s 
Sammtliche Kupferstiche’ published at Leipsic in 
1857-60. Among his principal plates may be 
mentioned : 

Jean Calas bidding farewell to his Wife. 1767-8. 

Frederick the Great, accompanied by Peace ; per 


A Review at Potsdam. 1777. 

Sixteen plates for the Life of Bunkel. 

The Progress of Virtue, and the Progress of Vice. 
Twelve ae for the Géttingen Almanac in 1778. 

Wilhelm Tell. 

Ziethen seated before the King. 

Ziethen asleep at the Table of Trederick IT. 

The Painter’s Studio. 

The Artist’s own Family. 1771. 


CHODOWIECKI, GorrrrigD, a painter and 
engraver, and a brother of Daniel Chodowiecki, 


was born at Dantzic in 1728. He painted land-- 


scapes, battle scenes, hunting pieces, and animal 
subjects in miniature and in enamel. He also 
etched plates from the designs of his brother, 
as well as from his own. He died at Dantzic in 
1781. 

CHODOWIECKI, Wi Hem, the son of Daniel 
Chodowiecki, was born in 1765. He was a pupil 
of his father, and followed his style with consider- 
able success : in fact, the father published many 
of his son’s plates with his own name attached to 
them. He died at Berlin in 1805. _ 

CHOFFARD, Pierre PHILippe, a French 
draughtsman and engraver, was born in Paris in 
1731. Whilst still very young he showed great 
aptitude for drawing flowers and ornaments, and 
was placed with an engraver of maps named 
Dheulland, but he afterwards received lessons 
from Babel, an engraver of ornaments, and is said 
to have had also the benefit of the advice of Nicolas 
Edelinck, Balechou, and Cochin, Commencing 
with the cartouches of maps, which date from 1753 
to 1756, he next engraved invitation and address 
cards and book-plates, and these drew attention to 
his abilities and secured for him the commission to 
execute the tail-pieces for the celebrated edition of 
the ‘Contes’ of La Fontaine published by the 
Fermiers-Généraux in 1762. The fertility of in- 
vention and the taste displayed by the artist in 
these gems of art are known and admired by all. 
The series ends with his own portrait in profile as 
the tail-piece of ‘Le Rossignol.’ To these suc- 
ceeded, among a host of minor pieces, the large 
ornaments placed at the head of each book of the 
Ovid’s ‘ Metamorphoses’ of 1767-1771, the head- 
pieces to Saint-Lambert’s poem, ‘Les Saisons,’ 
issued in 1769, and again with some alterations in 
1775, those to Imbert’s poem, ‘Le Jugement de 
Paris,’ 1772, and the tail-pieces to Desormeaux’s 
‘ Histoire de la Maison de Bourbon,’ published in the 
years 1779-1788. All these combined to establish 
his reputation as a designer of ornament without a 
rival. Besides these, the ornamental pieces which 
he executed for the ‘ Voyage pittoresque de Naples 
et de Sicile’ of Saint-Non, published in 1781, and 
the plates of ‘ Les Amants surpris,’ ‘ Les Amours 
champétres,’ and ‘Marchez tout doux, parlez tout 
bas,’ after Baudouin, and a view of Narbonne, 
after Monnet, must ‘be ranked among his best 
works. 

Choffard wrote in 1804 a ‘ Notice historique sur 
Tart de la Gravure,’ and was about to undertake 
a more extensive work when he was struck down 
by death at Paris in 1809. MM. Portalis and 
Béraldi give in their ‘Graveurs du Dix-huitiéme 
Siécle’ a detailed catalogue of his engravings, 
which number 855. R. E.G. 


CHOLLET, AnToInE JosepH, a French engraver 
in line and mezzotint, was born in Paris in 1793. 
He was the son of an architect, and studied under 
Bervic in Paris, He gained considerable reputation 

292 


he ine excellence of his plat , amongst w 
be noticed : ace > 
Christ crowned with Thorns ; after 
The Orphan ; after Réhn. 1822. 
‘ J’ai perdu ;’ after the same. 1824, 
Galileo in the Inquisition ; after learicen 
The Proposal; after Geirnaert. 183%, 0s 
The Last Cartridge ; after Horace Vernet. 1 
Mlle. Léontine Fay, as Malvina ; after Dubufe. 
Portrait of Mme. de Warens; after (@) Dest 
Deveria. Be 


CHOQUET, Louis, a French dranehiceee 
miniature painter, was a pupil of Aubry. 
produced illustrations for the works of Le & 
Marmontel, Florian, Fielding, &c. He died i al 
1825. aa 

CHRETIEN, Gites Louis, a French music 
was born at Versailles in 1754. In 1787 he 
vented a machine called a ‘ physionotrace,’ with a 
which he took portraits in profile from life, which — 
were reduced to silhouettes, usually by Fouquet, — 
and then engraved in aquatint by himself. Many © . 
of them are of great interest on account of the 
celebrity of the persons represented, ‘ L’ Incorrupt- 
ible Robespierre,’ Mirabeau, and Marat being among — 
the hundreds which he produced, Edme Quénedey 
was at first associated with him, but Chrétien — 
afterwards worked alone. He died in Paris in 
1811. 

CHRIEGER, Curisroru, called in Italian Criss 
TOFORO GUERRA, was a native of Nuremberg, who | 
went to Venice and died there in 1589. He exe- — 
cuted amagnificent engraving on wood, representing 
the sea-fight at Lepanto, ‘The design is cut on 
two blocks of wood, in the form of an oval, about — 
two feet long, by sixteen inches in height. Tt was 
published at Venice in 1572, by Cesare Vecellio,a — 
relation of Titian, who is supposed to have made — 
the design. Chrieger also engraved on wood the ~ 
420 illustrations of costumes for Vecellio’s ‘Habiti — 
antichi et moderni di Diuerse Parti del Mondo, — 
published at Venice in 1590. 

CHRIST, Josrpn, a painter of Winterstetten, 
executed portraits and frescoes in Augsburg and — 
St. Petersburg in the 18th century. a 

CHRISTFELD, Putuipp, a porcelain-painter,was 
born in 1797 at Frankenthal, in the Palatinate, and — 
placed when young’ in the porcelain manufactory st 
there. He afterwards pursued academical studies — 
at Nymphenburg, and then devoted himself to the 
painting of porcelain, and later still to the reg a 
duction of fac-similes of celebrated gallery pieces. 
He died at Munich in 1874. 

CHRISTIE, ALEXANDER, who was born at Edin- y 
burgh in 1807, entered the Trustees’ Academy in 
1833, and after studying for a short time in London, - 
settled in his native city. In 1843, he was madaa 
assistant, and two years later director, of the orna- | 
mental department of the Trustees’ Academy, He | 
was elected an Associate of the Scottish Academy © 
in 1848, and died in 1860. He painted porta 
and subject-pieces, 

CHRISTISON, Mary Sympson, an English por- ; 
trait and subject painter, was born about 1850. 
She was the eldest daughter of Mr. Charles Tovey, 
a Bristol merchant, ad niece of Samuel Griffiths 
Tovey, who gained a local reputation by his Vene- — 
tian pictures. She received instruction at the 
South Kensington and Bristol Schools of Art and 
at the Royal Academy. In 1878 she married Mr. 
Robert Christison and went to Queensland, where 
she died at Lammermoor in 1879. 


‘ 


ake i 
STOPHE, Ciaupg, a French historical and 

‘painter, who flourished at Nancy in the 
early part of the 18th century, was a native of 
Verdun. He studied under Rigaud, and gave up- 
wards of two hundred pictures to the poor churches 
of Lorraine. _ ; 
_ CHRISTOPHE, Joszpn, the brother of Claude 
Christophe, was born at Verdun in 1662. In 1696 
he painted as a “mai” for Notre-Dame the ‘ Mira- 
cle of the Loaves and Fishes.’ He was received 
into the Academy in 1702, and in 1724 became 
painter to the Archduke Leopold, for whom he 
executed many portraits. At Versailles there is by 
him ‘The Baptism of the Dauphin, son of Louis 
_ XIV.’ He died in Paris in 1748. 
_ GHUPPIN, Méparp, a French historical painter, 
flourished at Nancy from 1542 to 1580. He was a 
pupil of Hugues de La Fare, whose picture of the 
- ‘Last Supper,’ in the church of the Cordeliers at 
_ Nancy, he finished with credit to himself after the 
- death of his master. He worked almost always in 
conjunction with Claudin Crocx. He was painter 
to the Duke of Lorraine, as were likewise CHARLES 
Cuurrin, his son, and NicoLas CHUPPIN, his 
brother. 
- OHURCH, Freperick Epwin, American land- 
scape painter, born in Hartford, Connecticut, May 
4, 1826. He became a pupil of Thomas Cole in 
Catskill, where he worked several years before 
__ establishing himself in New York city. His 
pictures attracted much notice, and he became 
a full member of the National Academy in 1849, 
-_- Jn 1853 and 1857 he travelled in South America, 
_ and exhibited his large picture, ‘The Heart of the 
ie Andes,’ in 1859, which created a sensation. Later 
he visited Labrador, and his ‘Icebergs’ was shown 
-__in London in 1863. Three years later he went to 
the West Indies, and in 1868 made his first trip 
through Europe, going also to Palestine and 
_ Greece, where he painted some important pictures. 
| His best-known work is that of ‘The Great Falls 
at Niagara’ (1857), which, originally purchased by 
John Taylor Johnstone, was bought, at the sale of 
his collection in 1876, by the Corcoran Art Gallery 
in Washington for £5000. This picture was 
awarded a second-class medal at the Paris Exhibi- 
_ tion of 1867. He was a great admirer of Turner, 
__whose influence can be traced in many detuails of 
§ his work, He died in New York on April 7, 
1900. er P,P. 
+ +GHURCHMAN, Joxyn, was a miniature painter, 
© who died in London in 1780. 

ss GIAFFERI, Pierro, called Lo Smarcrasso, was 
born at Pisa about 1600, and flourished, according 
‘to Lanzi, about the year 1654. He belongs to the 
Florentine school, and painted marine subjects and 
seaports, which his residence at Leghorn enabled 
him to study from nature. His pictures are highly 
finished, and ornamented with small figures cor- 
rectly drawn. He also painted architectural and 
perspective views, and sacred subjects. His works 

are principally at Pisa and Leghorn. An ‘ Ecce 
| Homo’ by him is in the Pitti Falace, Florence. _ 
: | CIALDIERI, Giro.amo, was born at Urbino in 
) = 1593, and was a scholar of Claudio Ridolfi. He 
painted several pictures at Rome for the churches. 
7 His best work is the ‘Martyrdom of St. John,’ in 
7 San Bartolommeo. He flourished about 1640. 
| CIAMBERLANO, Luca, was born at Urbino 
about the year 1580. In the early part of his life 
q he applied himself to the study of civil law, in 
a | which he had taken a doctor's degree, when he 


BRIE ROT ERE RGIS 


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PAINTERS AND ENGRAVERS. 


abandoned the study of jurisprudence to devote 
‘himself to painting and engraving, particularly the 
latter. From 1599 to 1641 he resided at Rome, 
where he executed a great number of plates from 
his own designs, as well as after the works of the 
most celebrated Italian painters, in the style of 
Agostino Carracci. His plates, amounting to 114, 
are entirely executed with the graver, which he 
handled with neatness and intelligence; his draw- 
ing of the figure is tolerably correct. He some- 
times signed his plates with his name, and some- 


times marked them with the cipher ¢, 
Among them are the following: 


Thirteen plates of Christ and the twelve Apostles; 
St. Jerome dead, lying upon a stone ; after Raphael. 
St. Thomas; after Bassano. Nine plates of Angels 
carrying the instruments of the Passion. Duke 
Francesco Maria II. of Urbino. Christ on the Mount 
of Olives; after A. Casolano. Christ appearing to 
Mary Magdalen; after Federigo Barocct, 1609. 
Christ appearing to St. Theresa; after Carracct. 


CIAMPELLI, Acost1no, was born at Florence in 
1578. He was educated under Santo Titi, and 
went afterwards to Rome, where he distinguished 
himself by his efforts. He was employed by Pope 
Clement VIII., and executed several paintings in 
the Lateran and Vatican palaces. Inthe church 
of Santa Maria in Trastevere is a ‘ Dance of Angels,’ 
and in Santa Pudenziana is a picture representing 
‘Holy Women interring the bodies of the Martyrs.’ 
In the Jesuit Church are two of his finest works 
in fresco, the ‘ Martyrdom of St. Andrew,’ and in 
the ceiling a ‘Glory of Saints and Angels.’ In 
San Prassede he painted in oil, for his patron the 
Cardinal de’ Medici, the ‘ Crucifixion’; and in San 
Stefano di Pescia is his celebrated picture of the 
‘Visitation of the Virgin to St. Elizabeth,’ with 
two wings. He died at Rome in 1640. 

CIARLA, RAFFAELLO, a painter of Urbino, flour- 
ished about the middle of the 16th century, and 
excelled in painting majolica vases, which were 
especially admired at the Spanish Court. He was 
so skilful in imitating the great masters, that his 
works have often been confounded with those of 
Raphael. The identity of Christian name and of 
birthplace have doubtless had much to do with this 
confusion. He was a pupil of Orazio Fontana. 

CIARPI, Baccto, was born at Florence in 1578, 
and was a scholar of Santo Titi. He was a good 
painter of historical subjects, of which he gave 
proof in his works in the Chiesa della Concezione 
of the Capuchins at Rome. Ciarpi was the in- 
structor of Pietro da Cortona. He died in 1642, 

CIARTRES. See Rasser. 

CIBOT, Francois BARTHELEMY MICHEL Epou- 
ARD, a French historical and landscape painter, was 
born in Paris in 1799. His masters were Guérin 
and Picot. His most important work is the series 
of paintings representing ‘ Charity,’ in the church 
of St. Leu at Paris. About 1853 he applied him- 
self to landscape painting. He died in Paris in 
1877. Amongst his best works are : 


The Loves of the Angels, 1835. Regina Ceeli, 1846, 
St. Theresa, 1847. Convicts in 1788, 1836. Chest- 
nut-trees at Aulnay, 1855. Park at Orsay, 1857. 
The Gouffre, near Seineport, 1864. (Jn the Luxem- 
bourg Gallery.) View at Soisy-sur-Ecolle, 1865. 


CICCIO. See SoLimEena. 
CICERI, BERNARDINO, was born at Pavia in 1650, 


293 


A BIOGRAPHICAL DICTIONARY OF 


and was one of the ablest scholars of Carlo Sacchi. 
He afterwards passed some time at Rome ; and on 
his return to his native city, met with encourage- 
ment in painting historical pictures of a small size. 
He was also employed for the churches. 

CICERI, Pierre Luc Cuarues, a French artist, 
born at St. Cloud in 1782, was chiefly engaged as 
an architectural decorator and painter of theatrical 
scenes. He is stated to have executed four hundred 
opera decorations. He also produced some paint- 
ings in water-colour, among which are views of 
the Ponte di Sanita and Piazzetta della Cappella 
Vecchia in Naples, and of Interlacken, Brunnen, 
and Baden-Baden. Ciceri married a daughter of 
Jean Baptiste Isabey, the miniature painter, and 
died at St. Chéron in 1868. 

CIENNI pi Francesco DI SER CIENNI. 
CENNINI. 

CIERINCX (or Cizrines). See KIERINCX. 

CIERKENS, Jean, a Belgian painter of histori- 
cal and genre subjects, was born at Bruges in 1819. 
He studied in the Academy of his native city, and 
under Wallays and Wappers at Antwerp. He died 
at Rome in 1853. 

CIETENER, D., was a painter who from his 
style appears to have belonged to the Flemish 
school. There is in the Berlin Gallery the ‘ Bom- 
bardment of a Fortified Town,’ which is signed by 
him, and dated 1630, 

CIEZA, JosEF DE, the son and scholar of Miguel 
Geronimo de Cieza, was born at Granada in 1656. 
He acquired much facility in painting in distemper, 
and, going to Madrid in 1686, was employed te 
paint scenes in the theatre of Buenretiro, and 
became painter to the king in 1689. He likewise 
painted in oil historical subjects, landscapes, and 
flower-pieces. He died at Madrid in 1692. 

CIEZA, MicuEL GERONIMO DE, a Spanish painter, 
born at Granada, was one of the best scholars of 
Alonso Cano, whom he imitated both in drawing 
and in colour, He painted historical pictures with 
reputation, and according to Palomino, his best 
works are in the Convent of the Angel, and in the 
Hospital of the Corpus Domini, at Granada. He 
died in Granada at an advanced age in 1677. 

CIEZA, VINCENTE DE, a Spanish painter, and a 
native of Granada, was the son and pupil of Miguel 
Geronimo de Cieza. Having lost his father he 
went to Madrid to his elder brother Josef, whom 
he succeeded as painter to the king in 1692. He 
returned to Granada in 1701, and died there soon 
after his arrival. His works are confounded with 
those of his father in Granada, and with those of 
his brother in Madrid. 

CIGNANI, Conte CaRrxo, a distinguished painter 
of noble family, of the Lombard School. was born 
at Bologna in 1628. He was of an honourable 
family, and his first essays in the art were some 
drawings he attempted after the pictures in his 
father’s collection. He was first placed under the 
tuition of Giambattista Cairo, but he afterwards 
entered the academy of Francesco Albani, and 
became the most celebrated of his disciples. The 
works of Correggio and the Carracci had an in- 
fluence in the formation of his style. On his return 
to Bologna, he was employed by the Cardinal 
Farnese to ornament the great saloon of the palace 
at Bologna, where he painted his celebrated work 
of the ‘Entry of Pope Paul III. into Bologna,’ and 
the ‘ Passage of Francis I.’ through that city. He 
afterwards visited Leghorn and Rome, where he 
stayed three years, during which time he painted 

294 


See 


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among other works two pictures for 
ant’ Andrea della Valle, representin; 
from the life of that Saint; and several picture 
of Venus. On his return to Bologna he was em- — 
ployed in the execution of some important works 
in San Michele in Bosco; they represent scenes — 
taken from the time of the Plague, and are in ~ 
the style of Correggio, painted in ovals, supported y 
by angels of extraordinary beauty, and are held 
amongst the most admired features of that city. — 
He also executed several paintings for the nobility: 
amongst others, for the Archbishop of Milan, a — 
‘Holy Family ;’ for Prince Adam of Liechtenstein, — 
‘Cupid,’ ‘Bacchus,’ ‘Danae,’ and a ‘Virgin and — 
Child.’ After decorating the gallery of Duke 
Ranuccio II. at Parma, he was knighted by that 
prince and by the Pope. Other important works 
by him are, ‘The Virgin treading on the head of a 
Serpent,’ for the cathedral at Piacenza; ‘Joseph 
tempted by Potiphar’s Wife,’ for the Marquis Pal- 
lavicini; ‘Hagar and Ishmael,’ for the King of — 
Poland ; ‘The Descent from the Cross,’ and ‘Christ 
as a Gardener,’ for Louis XIV. The great monu- — 
ment of his fame is the cupola of the duomo at 
Forli, which occupied him from 1686 to 1706. It — 
represents the ‘ Assumption of the Virgin,’ an im- — 
mense work of the highest merit. After having — 
finished this grand composition, he was elected 
senator of that town, and Clement XI. appointed him _ 
president of the newly-founded ClementineAcademy 
at Bologna. Such was the attachment of his pupils 
to Cignani, that, whilst he was still working at — 
Forli, they followed him there, where his instruc- _ 
tions were continued until his death in 1719. — 
During the latter period of his life, he painted — 
among other pictures ‘Aurora,’ for the Marquis — 
d’Albiccini; ‘Adam and Eve,’ for the Cardinal 
Spinola; ‘The Birth of the Virgin,’ for Clement — 
XI.; ‘John the Baptist as a Child,’ and ‘Jupiter — 
nursed by the goat Amalthea,’ for the Elector- — 
Palatine John William. The following are some 
of his best works: ee ; 


Berlin. Museum. Venus and Anchises. 
Copenhagen. Gallery. Joseph and Potiphar’s Wife. 

& ‘i Tarquin and Lucretia. 

. - Holy Family. 3 
Dresden. Gallery. Joseph and Potiphar’s Wife. 
Dulwich. Gallery. The Magdalen. 

Florence. Uffiz. His own Portrait. 
$ 3 Madonna and Child. 

Hague. Gallery. Temptation of Adam and Eve. 
Munich. Pinakothek. The Infancy of Jupiter. 

< nA The Assumption of the Virgin. 
Petersburg. Hermitage. Charity. 
Vienna. Madonna and Child. 

As The Roman Charity. 


His paintings may also be found at Hampton 
Court and in the collection of the Duke of Devon- 
shire at Chatsworth. He died at Forli in 1719. 

Cignani’s powers were more profound than ~ 
prompt; he conceived his subject with facility, but 
he found difficulty in finishing it to his satisfaction. — 
Though his works always seem finished, they have _ 
nothing of the appearance of labour. In his ~ 
design he emulated Correggio, without arriving at _ 
the grandeur and vagueness of contour that are 
peculiar to his unrivalled model. In his colouring — 
he resembles rather the suavity of Guido than the 
tender blending of Correggio. Like the Carracci, 
he possessed a faculty, by means of extraordinary 
relief, of making his figures appear larger than 
they really are. He excelled in painting women 


Florence 


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— and— children, in which to something of the grace 

of Albani, he added a more elevated character. 

_ CIGNANI, Fetice, the son and scholar of Carlo 
_ Cignani, was born at Bologna in 1660. Under the 


able instruction of his father, and endowed with 


a natural disposition for the art, he became a 
_ painter of considerable ability. Enriched by an 


ample fortune left him by his father, he appears 


to have exercised the art rather as his inclination 


prompted him, than as a regular professor. In 


_ the Church of the Carita at Bologna is a picture 


by him of the ‘Virgin and Infant Jesus, with 
St. Joseph, and St. Anthony of Padua;’ and at 
the Cappuccini, a much-admired picture of ‘St. 
Francis receiving the Stigmata.’ He died in 1724. 

CIGNANI, Paoto, the nephew and scholar of 
Carlo Cignani, was born at Bologna in 1709. Lanzi 


mentions in favourable terms a picture by this 


painter at Savignano, ‘St. Francis appearing to St. 
Joseph of Copertino.’ The subject is represented 
by candle-light with a fine effect; the figures are 
well designed in the style of the antique. He died 


In 1764, 


CIGNAROLI, GriamBeTTINO, was born at Salo, 
near Verona,in 1706. He first studied under Santo 
Prunato at Venice, but gained further improve- 
ment by travelling in the Venetian States and 
Lombardy, and by copying the works of Paolo 
Veronese and Correggio. He may be ranked 
among the best painters of the modern Venetian 
school. Although he was invited to several of 
the courts in Italy, he preferred a residence at 
At Pontremoli is an admirable picture 
by him of ‘St. Francis receiving the Stigmata.’ 


' Lanzi extols as one of his finest pictures the 


‘ Flight into Egypt,’ in Sant’ Antonio Abbate, at 
The grave and dignified beauty of the 
Virgin, and the angelic character of the cherubs 
that are their guides, partake of the charming ex- 
pression of Carlo Maratti, although unequal to that 
master in unity of effect and harmony of colour- 
ing. His backgrounds are ingeniously composed 
of well-chosen architecture and pleasing landscape, 
and his subjects, usually devout, are enlivened by 


‘groups of cherubs and angels, which he introduced 


with the happiest effect. He was the founder, and 
in 1769 the director, of the Academy at Verona. 
He died at Verona, in 1770. Among his principal 
works are: 


Madrid. Museum. Assumption of the Virgin. 
Venice. Gallery. |The Death of Rachel (a replica is 
in the Lille Museum). 
Verona. Museum. The Triumph of Pomponius, 
= Cathedral, The Transfiguration. 
Vienna, Gallery. Madonnaand Child, with SS. Ottilia 


and Peter Martyr. 


CIGNAROLI, Marrino, was born at Verona in 
1649, and studied in the school of Carpioni, under 
whom he became an able artist in landscapes of an 
easel size. He died at Milan in 1726. 

His brother, Prerro CrgNnaroui, who was also a 
painter, was born at Verona in 1665, and died at 
Milan in 1720. 

CIGNAROLI, Scirionz, the son of Martino, re- 
ceived his first instruction from his father, and 
afterwards went to Rome, where he became a 
scholar of Tempesta. He was a successful imitator 
of the style of his master, and of the works of G. 
Poussin and Salvator Rosa. His pictures are chiefly 
at Milan and Turin. 

CIGOLI. See Carpi. 


CIMA pA ConEGLIANO. See CoNEGLIANO. 


CIMABUE, GiovannI, who was of a noble family, 
was born at Florence in 1240. He is extolled by 
Vasari as having shed the first light on the art of 
painting, and the title of the ‘Father of Modern 
Painting’ has been bestowed upon him. Most 
writers, however, now agree in regarding him as 
the last of the old, rather than the first of the new, 
line of painters in Italy ; for although he undoubt- 
edly infused a certain amount of new life into the 
old worn-out types, he never quite rid himself of 
the dismal asceticism of the Byzantine School, and 
therefore can scarcely be placed on a level with 
his great contemporary Niccol6é Pisano, who really 
gave the new impulse that art received at this time, 
an impulse that was carried on by Cimabue’s pupil 
Giotto, and transmitted by him through all the 
great line of Italian artists, 

Vasari states that he was educated in the Convent 
of Santa Maria Novella, and was trained in art by 
certain Greek masters who had been invited to 
Florence to paint the chapel of the Gondi in Santa 
Maria Novella; but as this church was not built 
until Cimabue was about forty years of age, this 
could not well have been the case. There were, 
however, many native painters in Italy at this time, 
and from some of these he probably received in- 
struction. Of Cimabue’s works by far the most 
important is the famous colossal Madonna still 
preserved in the church for which it was painted 
—Santa Maria Novella. This Madonna was so 
admired by Cimabue’s contemporaries that they 
carried it, according to Vasari, in festive procession 
through the streets. It was the largest altar-piece 
that had as yet been painted, and in many respects 
is important in the history of art. The expression 
of the Virgin, though doleful, is different from the 
hard staring grief depicted by preceding artists, 
and the Child stretches out his two fingers in bene- 
diction in quite a natural manner. The little 
medalions of apostles and saints on the frame are 
especially worthy of notice. In this work indeed © 
distinct progress is visible, but this was a late 
work of the artist ; a Madonna in the Florentine 
Academy, and others in the Louvre at Paris and 
in the National Gallery, scarcely attain to the 
same degree of improvement. 

Besides his Madonnas and other altar-pieces, 
Cimabue was doubtless the master who executed 


| many of the wall-paintings in the church of St. 


Francis, at Assisi. ‘‘Of Cimabue’s presence at 
Assisi,” Messrs. Crowe and Cavalcaselle pronounce 
that “there is not the slightest reason to doubt,” 
but it is very difficult to assign precisely his portion 
of the artistic work accomplished there. This 
church has a peculiar interest in the history of Art, 
for the whole progress of painting in the 13th and 
14th centuries may be studied on its walls. It was 
built as an Upper and Lower Church during the 
first half of the 13th century, when the worship of 
St. Francis, the Patron Saint of Poverty, had grown 
to be second only to that of Christ. It was first 
decorated by the rude artists of that early day, and 
probably, amongst others, by Giunto Pisano; but 
Cimabue appears to have had the superintendence 
of all the paintings executed there in his time. 
Vasari indeed assigns the whole of the paintings 
of the walls and the vaulted roof of the Lower 
Church to him and “ certain Greek masters” whom 
he “greatly surpassed ;” but it is more probable 
that he merely painted the south transept. All 
his paintings in the Lower Church have perished, 
but some still remain in the Upper Church Per are 
5 


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assigned to him with every probability of truth. 


According to Vasari the whole series of the History 


of the Virgin, and of Jesus Christ, together with 
the eight historical subjects from the Old Testa- 
ment, were all painted by Cimabue; but modern 
writers find in these paintings the work of many 
different hands. In this church, which seems to 
have been a sort of training ground for most of 
the artists of that time, we may see the progress 
that Italian art had just begun to make, tracing 
the development from Giunto Pisano to Cimabue, 
_ and from, Cimabue to Giotto. 

Vasari speaks of Cimabue having painted a small 
picture of St. Francis ‘from nature,” not meaning 
from St. Francis himself, who had long been dead, 
but from the living model, “‘which was a new thing 

in those times.” This likeness still exists in the 
church of Santa Croce, butits authenticity isrendered 
doubtful by its being placed amongst other works 
that are attributed to Cimabue without any reason- 
able foundation. Cimabue probably died in 1302, 
in which year, according to Ciampi, he was engaged 
upon a mosaic in the Duomo of Pisa, which he left 
unfinished. He was buried in the church of Santa 
Maria del Fiore in Florence, and the following 
epitaph was afterwards composed upon him by one 
of the Nini: 


“ Credidit ut Cimabos picture castra tenere, 
Sic tenuit, vivens ; nunc tenet astra poli.” 


This probably was written in allusion to the well- 
known lines in Dante’s ‘ Purgatoria,’ and not as 
Vasari puts it. 

Some critics question as to whether works attri- 
buted to Cimabue should not rather be given to 
Duccio the Sienese artist, and say there has been 
some confusion between the histories of these 
two men, but there is every probability that the 
old Tuscan school before Giotto was very similar 
in the two cities. 

Bibliography: Vasari, ‘ Vite de’ piu eccellenti 
Pittori, &c.,’ Crowe and Cavalcaselle; P. Angeli, 
‘Storia della Basilica d’Assisi’; and ‘ Painters of 
Florence,’ Mrs, Ady, 1900. 

CIMA ROLI, G1amBartTisTA, a Venetian landscape 
painter, who was born at Salo on the lake of Garda, 
flourished from 1718 to 1733. He was a pupil of 
Antonio Calza, and it is conjectured that Zuccarelli 
may have taken lessons from him, as his early pic- 
tures have some resemblance to those of Cimaroli, 
but with less warmth. The cattle and figures 
introduced are of the same character. His pictures 
are not uncommon in England, though his name and 
works are confounded with those of the Cignaroli. 

CIMATORI, Anronio, called In Vuisacci, an 
Italian historical painter, was a native of Urbino. 
He flourished in the 16th century, and excelled in 
chiaroscuro and in pen-and-ink drawings. 

CIMON, an early Greek monochromist of Cleonae, 
appears to have flourished in the latter part of the 
9th century B.C., but his date cannot be determined 
with any certainty. He seems to have been the 
first to attempt to place the figure in different 
attitudes, so as to display the joints, the veins of 
the body, and the drapery. He may therefore be 
considered the first painter of perspective. 

CINCINNATO, Dieco Romuto, and Francisco 
Romuto, were the sons and pupils of Romolo Cin- 
cinnato. Diego was sent to Rome by Philip IV., 
where he painted for that monarch the portrait of 
Urban VIIL., by whom he was knighted, and pre- 
ages with a gold medal and chain. He was 


ICAL DICTIONAR’ 


~ Roa 


principally engaged, as was his brothe 
in painting portraits. Diego died at Rom 
and Francisco in the same city in 1635. 

CINCINNATO, Romoto, a Florentine pain 
who was born at Florence in 1502, and was a pupil 
of Francesco Salviati. In 1567 he was invited by 
Philip II. to Spain, where he passed the great 
part of his life. He was employed in the Escorial 
where he painted in fresco a part of the great 
cloister, and in the church two pictures representing 
‘St. Jerome reading,’ and the same saint preaching — 
to his disciples; as well as two subjects from the 
life of St. Lawrence. For the church of the 
Jesuits at Cuenca, he painted in 1572—3 his most 
esteemed work, the ‘ Circumcision,’ now in the 
Academy of St. Ferdinand at Madrid. He also 
painted some mythological subjects in fresco, in 
the palace of the Duke of Infantado, at Guadalajara. _ 
Other works by him are in the Academy of Madrid, 
viz.:—‘*The Transfiguration’ after Raphael, in oil; 
two pictures of ‘St. Peter’ and ‘St. Paul’; anda 
fresco painting of ‘St. Lawrence.’ Hedied atan 
advanced age in 1600, ray: 

CINERICIUS, Purutrpvs, is the name of an en- 
graver by whom there are two small plates repre- 
senting St. Dominic and St. Peter Martyr, dated 
1516. He appears to have been a monk of the 
Dominican order, and was probably of German 
origin, the name Cinericius being the Latin equiva- 
lent of Ascher. The style of his engravings is 
entirely that of the Italian school of the com- 
mencement of the 16th century. See Passavant’s 
‘ Peintre-Graveur,’ v. 228. aoe 

CIONE, ANDREA DI, who was born at Florence 
in 1308 (?), is commonly called Oncaana, (supposed 
to be a corruption of “ Arcagnuolo,’”) the name 
given to him by his contemporaries. His father, 
a goldsmith, instructed him in the rudiments of his _ 
art; in 1343 he was registered in the Florentine 
Painters’ Guild, and nine years later he became 
master in the Guild of the Stone-Cutters, Between a 
1350 and 1357, in conjunction with his elder 
brother, Leonardo (more commonly called Nardo), —__ 
he painted in the Strozzi Chapel in Santa Maria 
Novella, Florence. The frescoes, the ‘ Last Judg- 
ment,’ ‘ Paradise,’ and an altar-piece of the year 
1357, by Andrea, and ‘Hell,’ by Nardo, though 
much damaged by damp and restoration, still 
remain, For the same chapel he painted, in 1354, 
an altar-piece of the ‘Saviour enthroned with 
Saints and Angels.’ Early in 1358 Orcagna went 
to Orvieto, where he worked at intervals until 
1361. 

The death of Orcagna is now usually placed in 
1368, and accordingly 1308 is given as the year 
of his birth, for he is said to have been sixty years 
old when he died. 

If the year 1368 be correct, it, of course, robs 
him of the authorship of any works executed sub- 
sequent to that date. Amongst the paintings 
formerly ascribed to him, but now assigned to other 
masters, are the great frescoes in the Campo Santo 
at Pisa, representing the ‘Triumph of Death,’ the 
‘Last Judgment,’ and ‘ Hell,’ which are thought to 
be of Sienese workmanship, similar to that of the 
Lorenzetti. 

Orcagna was also a sculptor and architect. On ~ 
his sculptures he wrote, ‘‘ Fece Andrea di Cione, 
Pittore”’ ; on his paintings, “ Fece Andrea di Cione, 
Scultore.” The Tabernacle with medallions illus- 
trating the life of the Blessed Virgin Mary in Or 
San Michele, Florence, built to enclose a miraculous 


~ 


Crp -CLERIAN I: 


CUPIDS ON A GOAT 


icture, and finished in 1359, is his most notable 
work, It is a white marble shrine with spiral 


Fis columns and pinnacles, rising almost to the roof of 
_ the church, and is studded with jewels and enamels 


of marvellous beauty. The following paintings 


by him still remain : 
Florence. 8. Maria Novella. Altar-piece (1357), Frescoes 


of Paradise and of The 

Last Judgment. 
Coronation of the Virgin 
(an altar-piece in twelve 
divisions: painted for 8, 
Pietro Maggiore, Florence). 


London. National Gail. 


CIONE, Lronarpo DI, architect and painter, the 
elder brother of Orcagna, is usually known by the 
name of Narpo, which was supposed formerly 
to be the diminutive of Bernardo, but is now said 
to stand for Leonardo. If this be so, the works 
signed “ Bernardus de Florentia ”—e. g. a triptych in 
the Florentine Academy, a ‘ Virgin and Saints’ in 
the Ognissanti at Florence, &c.—usually ascribed to 
Orcagna’s elder brother, cannot be by his hand. 
But the Strozzi Chapel, in Santa Maria Novella, 
Florence, still possesses frescoes which he is known 
to have executed in conjunction with Orcagna. He 
flourished about 1350-1360. 

CIOR, Pierre Cuaries, a French painter of 
historical subjects, portraits, and miniatures, was 
born in Paris in 1769. He was a pupil of Bauzin, 
and became miniature painter to the king of Spain. 

CIPPER. See Zrrrrr. 

CIPRIANI, Gate@ano, an Italian line-engraver, 
was born at Siena in 1775. He entered the school 
of Raffaelle Morghen, and was professor success- 
ively at the Academies of Naples and Venice. His 
best plates are ‘St. Peter and St. Paul,’ after Guido 
Reni, and ‘St. John in the Wilderness,’ after Titian. 

CIPRIANI, Giovanni BarrisTa, a painter ana 
etcher, was born at Florence in 1727. He was of 
a good family of Pistoia. He attended the school 
of Ignatius Hugford, an Englishman settled in 
Florence, where he was a fellow-pupil of Bartolozzi. 
In 1750 he went to Rome for improvement, and 
after his return to Florence, he painted the organ- 
screen for the church of the convent of Santa 
Maria Maddalena de’ Pazzi. In 1755 he came to 
England, whither his reputation had preceded him. 
It was at a period when the talents of Bartolozzi, 
the engraver, were in their prime, and the union of 
the abilities of these two men soon became dis- 
tinguished through every part of Europe. Perhaps 
few instances have occurred in which the exertions 
of the artist have been so happily supported by the 
taste of the engraver. 

Cipriani executed few large works in painting; 
the most considerable of them are at Houghton. 
He also restored some of Verrio’s paintings at 
Windsor, as well as the ceiling by Rubens in the 
chapel at Whitehall, in 1778. He left an infinite 
number of drawings, which may be ranked among 
the happiest efforts of the art. Cipriani was one 
of the members of the Royal Academy at its 
foundation in 1768, and was employed to make 
the design for the diploma which is given to the 
Academiciansand Associates on theiradinission, and 
which was finely engraved by Bartolozzi. For this 
work the Academicians presented him with a silver 
cup, at the same time acknowledging the assistance 
they had received from his great abilities in his 
profession. The original drawing was afterwards 
sold by auction for thirty-one guineas. He en- 
graved a few plates, some of which are after his 


PAINTERS AND ENGRAVERS. 


own designs. These were done for Thomas Hollis, 
to be inserted in his ‘Memoirs.’? On them is in- 
scribed, ‘Drawn and etched by J. B. Cipriani, a 
Tuscan,’ &c. 

In 1761 Cipriani married an English lady, by 
whom he had two sons, the younger of whom, 
Captain Sir Henry Crpriani, was brought up as 
an artist, but afterwards became a clerk in the 
Treasury, and died in 1820, 

Cipriani died at Hammersmith in 1785, and was 
buried in the Chelsea burial-ground, where Barto- 
lozzi erected a monument to his memory. In the 
year after his death 1100 drawings by him were 
sold by auction. His own portrait by himself is 
in the Uffizi, Florence, and in the South Kensington 
Museum are three water-colour drawings by him 
— The Triumph of Cupid,’ ‘The Jealousy of Darn- 
ley,’ and ‘ Comedy’ (1783). 

CIRCIGNANO, Antonio, who was born at Poma- 
rance in 1560, was the son and pupil of Niccold 
Circignano, whom he assisted in many of his works. 
After the death of his father, he resided some years 
at Citta di Castello, where he painted some of his best 
pictures, of which the most admired was the ‘ Con- 
ception,’ in the Conventuali, which Lanzi describes 
as partaking of the styles of Barocci and Roncalli. 
He returned to Rome, according to Baglione, in the 
pontificate of Urban VIII., and was employed for 
several of the churches. In La Madonna della 
Consolazione, he painted some subjects of the life 
of the Virgin; in Santa Maria Transpontina, the 
church of the Carmelites, several pictures from the 
life of St. Albert. He died at Rome in 1620. 

CIRCIGNANO, Niccou0d, called DALLE Poma- 
RANCE, or IL PoMARANCIO, was born at Pomarance, 
in Tuscany, in 1519. Baglione, without saying by 
whom he was instructed, states that he visited 
Rome when he was young, in the pontificate of 
Gregory XIII., by whom he was employed in the 
great saloon of the Belvedere. He lived the greater 
part of his life at Rome, where there are many of 
his works in the churches. In San Stefano Rotondo, 
is the Martyrdom of that Saint. In the Tempio 
del Gesu, there are two chapels entirely decorated 
by him; in one he has painted several subjects 
from the lives of St. Peter and St. Paul, in the 
other, the ‘ Nativity ;’ in Sant’ Antonio is the ‘Cruci- 
fixion.’ The Cupola of Santa Pudenzisna is also 
by this master. Baglione says that he died in the 
pontificate of Sixtus V. (1585-1590) in the 72nd 
year of his age: therefore, in 1590. 

CITTADINI, Garrano, was the son of Carlo 
Cittadini, and was instructed by his father. He 
excelled in painting landscapes of a cabinet size, 
with small figures, correctly drawn and spiritedly 
touched. His works were held in estimation both 
at Rome and at Bologna. He lived about the year 
1725. His brother GIOVANNI GIROLAMO was also a 
distinguished painter. 

CITTADINI, Giovanni Battista, CarLo, and 
ANGIOLO MICHELE, were the sons of Pierfrancesco 
Cittadini, and painted animals, birds, fruit, and 
flowers, in the style of their father. They resided 
chiefly at Bologna. Giovanni was born in 1657, 
and died in 1693: Carlo was born in 1669, and 
died in 1744. 

CITTADINI, Prerrrancesco, called IL MILANESE, 
was born at Milan in either 1613 or 1616, and was 
brought up in the school of Guido. He possessed 
powers for the higher work of art, as is evident 
from the proofs he has given in the churches at 
Bologna. His ‘Stoning of Stephen,’ ‘ Christ Pest 


ee re ee ee ee 
_- = Meg 


.oce Ta rl 


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OTE 


to 
r 

* 
AT St 3 


hau . BIOGRAPHIOAL es 


ing in the Garden,’ the ‘Flagellation,’ and the 
‘Ecce Homo,’ which he painted for the church of 


San Stefano, and his ‘St. Agatha,’ for the church of | 


that Saint, are productions not unworthy of a dis- 
ciple of Guido. Yet, whether he was allured by the 
encouragement given to the painters of ornamental 
cabinet pictures, or from his own caprice, this able 
artist descended to the humble imitation of still- 
life. Many of his pictures of dead game, fruit, and 
flowers, are in the collections at Bologna, where he 
died in 1681. An ‘Adoration of the Shepherds’ 

by him is in the Hermitage, St. Petersburg; and 
the Dresden Gallery contains ‘Hagar and the 
Angel,’ ‘Lot and his daughters leaving Sodom,’ 
and a picture of still-life. Three paintings by him 
are in the Bologna Gallery. Albani called the 
three sons of this painter, ‘I Fruttajuoli’ and 
‘I Fioranti.’ 

CIVALLI, Francesco, who was born at Perugia 
in 1660, was ascholar of Andrea Carlone. Onleav- 
ing that master he went to Rome, where he studied 
some time under Giovanni Battista Gauli, called 
Baciccio, He was a reputable painter of history ; 
but his chief merit consisted in his portraits, which 
are very generally esteemed. He died in 1703. 

CIVERCHIO, Vincenzo, (or VERCHIO,) was born 
at Crema towards the close of the 15th century. He 
has also been styled “In Fornaro,” and was at 
Brescia for the first time in 1493, where he spent 
four years in the decoration of the old cathedral, 
a labour which has now entirely disappeared. The 
churches of Santa Barnaba and Sant’ Alessandro, 
Brescia, contain altar-pieces by him, dated 1495 
and 1504. His earliest known remaining work at 
Crema is the altar-piece in the duomo, representing 
‘St. Sebastian, between SS. Christopher and Roch,’ 
dated 1509. In 1526 he painted the portraits of the 
illustrious citizens of Crema, and likewise restored 
a miraculous Pieta, which belonged to the duomo. 
The date of his death is uncertain. He was living 
in 1539, for that date is found on a ‘ Baptism of 
Christ’ by him in the Tadini Collection at Lovere. 
The following of his paintings are worthy of note: 
Brescia. SS. Alessandro. Pieta. 1504. 

- 45 Scenes of the Passion. 1504. 
Crema. Bishop’s Chapel. An Annunciation. 

- Town Hall. St. Mark between Justice and 

Temperance. 1507—1509. 
Several portraits of personages of 

distinction in that city. 1526. 
” Cathedral. St. Sebastian between 8S. Roch 

and Christopher. 1515 or 1519. 


” tb) 


Gessate. S. Pietro. Pieta. 
Lovere. Tadini Coll. Baptism of Christ. 1539. 
* Casa Cariont.15 Scenes from the Story of 
Psyche (as a frieze). 1540. 
= S. Andrea. Trinity. 
» ” SS. Nicholas, Sebastian, and 
Roch. 
Palazzuolo. Church. The Madonna and Child, with 


Angels and Saints. 1525. 


Vasari by mistake speaks also of an older painter 
of the same name. 

CIVETON, CuristoruHE, a French engraver and 
draughtsman, was born in Paris in 1796. He 
studied under Bertin, and made drawings of Views 
in the environs of Paris. He died in 1831, 

CIVETTA. See Buzs. 

CLACK, Ricuarp Avuaustvs, the son of a Devon- 
shire clergyman, whose chief works were portraits, 
exhibited at the Royal Academy from 1830 to 1857. 
He lived for some time at Exeter, and afterwards 
at Hampstead, but the dates of his birth and death 
are not recorded. 

298 


CLAES, ANTHONIE, tie Caassceneen e | 
Pieter Claes the elder, painted historical and 
gorical subjects, and portraits, He was a n 
of Bruges, and there entered the Guild of St. Luke | 


sh 


in 1575, and became its dean in 1586, 1590, a % 


He died in 1613. His works, "several. 
which are in the Hotel-de-Ville and churches 
Bruges, are distinguished by their fine colourin 
and finish. In the Hotel-de-Ville is a ‘Gran 


Banquet,’ with many portraits of magistrates of ; 


the time, dated 1574, 


His son, PizreR ANTHONIE, was dean of the 
Guild of St. Luke at Bruges in 1607, and died in 


1608. 


native city in 1870. 


CLAES, GiILuEs, (or CLAESSENS,) an historicats 
painter, was the son of Pieter Claes the elder. He 


was born at Bruges, and in 1570 was admitted into 


the Guild of St. Luke, of which he became dean in > 
1577. He became domestic painter to Alessandro 


Farnese, Duke of Parma, Governor of the Nether- 


lands, and to the Archduke Albert and Infanta 


Isabella. He died at Bruges in 1607. 


CLAES, Pierrer, (or CLAESSENs,) the elder, a_ 


CLAES, Fiorent, a Belgian painter of interiors 
and genre subjects, was born at Antwerp in 1818. 
He studied under N. de Keyser, and died in his 


Flemish painter of history and portraits, was the , 
earliest of a large family of artists who lived at = 


Bruges, where he was born in 1500. He was a 
pupil of Adriaan Bekaert, and was admitted into 
the Guild of St. Luke in that city in 1516, made a 
master in 1529, and dean in 1572. He died at 
Bruges in 1576. In the collection of the Prince 


of Orange at Brussels was a painting by him ofa ~ 


knight kneeling, with four sons, and in the Copen- 
hagen Museum is a Man’s Portrait by him. The 


name has been often written Claeis, Claeissens, — 


Claeyssens, and Claeyssoone. 


CLAKES, Pieter, (or CLAEssENS,) the younger, 


was the son of Pieter Claes, the elder. He was 
born at Bruges, and died therein 1612. He painted 


history, allegories, and portraits, and became a 
master of the Guild of St. Luke, at Bruges, in 1570, 


and deanin 1587, 1600, and 1606. His masterpiece 


is a triptych in the church of St. Walburga at 
Bruges, representing ‘ Notre-Dame de lArbre-Sec,’ 


painted in 1606-1608, and long erroneously attri- 


buted to Pourbus. There is also a “triptych, an 


‘Ecce Homo,’ by him, in the cathedral, and the : 


‘Pacification of Ghent’ in the Academy at Bruges. 


His works are remarkable for their design and “- 


colouring, but are wanting in animation. 


This artist had a son, also named PreTER, who 


died in 1623. His ‘ Christ bearing the Cross’ is in 


the Hospital of St. John at Bruges. 


CLAESSEN, ArrrcEn, also called AERTGEN VAN 


LEYDEN, or AERTGEN DE VOLLER, was a Dutch a 


painter, born at Leyden in 1498. He was a scholar 


of Cornelis Engelbrechtszoon, whose manner he at 


first imitated ; but on seeing the works of Schoorl — a 


and Heemskerk, he changed his mode of design- 


ing, which was neither correct nor agreeable, and 


adopted the style of those masters. He painted 


historical subjects, and composed his subjects with © yy 


surprising facility. He also made many designs 
for painters upon glass. “an Mander speaks in 
very favourable terms o. 
master at Leyden, one representing the ‘Cruci- 


fixion, with the Virgin, Mary Magdalen, and the — 4 


Disciples ;’ the other, ‘Christ bearing his Cross.’ 


He died in 1564. There are paintings by him in = 


two pictures by this © a 


VINCENZO CIVERCHIO 


[Brera Gallery, Milan 


Bregi photo] 


4 


THE BIRTH OF CHRIST 


‘ et hi 


cr Ui a ea , 
: us an i : 
a ~<a ame 


‘eae 


ae 
> 


D'the Berlin 


. a &* 


'. most happy manner. 


_ painters of the Netherlands. 


F a 
i + 


Gallery, of ‘Christ before Chiapas? and 


a‘ Holy Family.’ 


_CLAESSEN, Atarrt, a Dutch engraver, who 


flourished at Amsterdam between 1520 and 1562. 
He copied Lucas van Leyden, Albrecht Diirer, and 


H.8. Beham, There is also a plate by him after 
Mantegna. His engravings, which are among the 


best productions of his time, are executed with a 


light touch, but are not correctly drawn. He there- 


y fore shows to more advantage in his smaller than 


in his larger works, of which he executed but very 


few. 


Bartsch and Passavant describe 142 works by 
this artist, amongst which are: 7 
- David and Goliath. 

The Baptism of the Eunuch. 1524, 
$t. Margaret. - 

A Nativity. 
The Baptism of Christ. 
pees of General Gattamelatta; after Mantegna. 


A Naked Woman, with a Dragon. 


_CLAESSENS, Anruonig, a painter of Antwerp, 
is said to have been a pupil of Quentin Massys. 
There are two works from his hand in the Academy 
at Bruges, painted in 1498 for the town hall, and 
which have until recently been attributed to 
Gheerardt David; they represent the ‘ Judgment 
of Cambyses’ and the ‘Flaying of Sisamnes.’ 
These works are correctly drawn, of remarkable 


expression, and cleverly coloured, but somewhat 


cold in tone and with the shadows too deep. There 
was also a picture in the church of the Car- 


_thusians at Miraflores in Spain, representing ‘ St. 


John the Baptist and a Bishop,’ which bore the 
legend ‘ Antonio Claesins Brugensis.’ In the Dublin 
oe Gallery is a ‘Nativity’ said to be by 

im. 

CLAESSENS, LampBertus ANTONIUS, was born 

at Antwerp in 1764, and commenced his artistic 
career as a painter of landscapes ; but abandoned 
the palette to exercise his talents as an engraver, 
and became highly proficient, combining the use of 
the graver with that of the etching needle in a 
He studied under Bartolozzi, 
and engraved plates after the works of Rubens, 
Rembrandt, Gerard Dou, Ostade, and other eminent 
He practised in 
London, Amsterdam, and Paris, where he settled 
about 1810. He died at Rueil, near Paris, in 1834. 
Claessens married the widow of the French minia- 
ture painter Pelletier, who was herself an artist. 
His best works are: 

The Descent from the Cross; after Rubens. 

The Dropsical Woman ; after G. Dou. 

The Night Watch ; after Rembrandt. 

The Laugher ; after F. Hals. 


CLARET, Wi1114y, an English portrait painter, 
flourished from about 1670 to 1680. He was a 
scholar of Sir Peter Lely, and copied many of the 
pictures of that master. Of his own productions, 
one of the most successful was a portrait of John 
Kgerton, Earl of Bridgewater, of which we have a 
mezzotint print by R. Thomson. He died in 
London in 1706. 

CLARK, Joun HEAVISIDE, who was born about 
1770, was sometimes known as ‘ Waterloo Clark,’ 
because of the sketches he made on the field directly 
after the battle. He was the author of ‘A prac- 
tical essay on the art of Colouring and Painting 
Landscapes,’ with illustrations, published in 1807, 
and ‘A practical Illustration of Gilpin’s Day,’ with 


PAINTERS AND ENGRAVERS. : 


eee designs, in 1824. He died in Edinburgh in 
63. 

CLARK, Tuomas, a native of Ireland, studied in 
the Dublin Academy, and about 1768 entered the 
studio of Sir Joshua Reynolds, with whom, how- 
ever, he did not remain long. He drew heads 
well, but was a very poor colourist. He died 

oung. 

CLARK, W., a corporal in a Light Dragoon 
Regiment, practised successfully as an aquatint 
engraver. He died at Limerick in 1801. 

CLARKE, Joun, an engraver, was born in Scot- 
land about 1650, and worked with success at Edin- 
burgh. He died about 1697. We have by him 
the following plates : 


A Medallion of William and Mary, Prince and Princess 
of Orange. 1690, 

Sir Matthew Hale. 

George, Baron de Goertz. 

Andrew Marvell. 

Humphrey Prideaux. _ : 

Seven small Heads on one plate: Charles II., and his 
Queen, Prince Rupert, Prince of Orange, Duke of 
York, Duke of Monmouth, and General Monk. 

The Humours of Harlequin (from his own designs), 


CLARKE, Joun, an engraver mentioned in Wal- 
pole’s ‘ Anecdotes,’ resided in Gray’s Inn, London, 
and worked during the latter portion of the 17th 
century. He engraved a portrait of Rubens, and 
a print of ‘ Hercules and Deianira,’ . 

CLARKE, THEOPHILUS, was born in 1776. He 
studied under Opie, and became a student of the 
Royal Academy in 1793, and an Associate in 1803. 
He chiefly practised portrait painting, but occa- 
sionally exhibited fancy subjects, such as ‘The 
Pensive Girl,’ and ‘ The Lovers,’ from Thomson’s 
Seasons. It is not known when he died, but his 
name was retained on the list of Associates till 
1832. 

CLARKE, WILLIAM, was an English engraver 
mentioned by Vertue. He engraved the portraits 
of George, Duke of Albemarle, from a picture by 
Barlow ; Elizabeth Percy, Duchess of Somerset; 
and John Shower, from a painting by himself. 
The latter is a small mezzotint. His last work is 
dated 1680. 

CLARKSON, NATHANIEL, who began life as a 
coach-panel and sign painter, afterwards became 
known for his portraits. He was a member of the 
Incorporated Society of Artists. In 1787 he 
painted an altar-piece of the ‘ Annunciation,’ which 
he presented to St. Mary’s church at Islington, 
where he resided. He died there in 1795, aged 71. 

CLAROS, Luis, was a Valencian painter, errone- 
ously represented as a scholar of the Ribaltas, He 
joined the Augustinian Order in 1663, and painted 
for his convent a large picture of ‘Christ ministered 
to by Angels in the Desert,’ besides other works, in 
one of which he introduced his own portrait. 

CLARUS, Fasririus. See CHIARI. 

CLARY, Jusrinien Niconas, Viscount, a French 
amateur painter of animals, was born in Paris in 
1816, and died in that city in 1869. 

CLASENS, D., a Dutch engraver, flourished 
about the year 1660. His name is affixed to a 
coarse etching, representing the ‘Virgin and Infant 
Christ, with St. John and an Angel,’ after Procac- 
cini. 

CLASERI, Marco, was a native of Venice, and 
flourished about the year 1580. He engraved 
several wood-cuts, among which are the ‘Four 


Seasons,’ and the ‘ Four Ages of the World. pes 


\ ° 


CLASSICUS, Vicrortus, was, according to Florent | 


Le Comte, a sculptor and an architect. He is said 
to have engraved some plates from the paintings 
of Tintoretto. There is a small portrait of 
Tintoretto, engraved in a style resembling that of 
Cornelis Cort, inscribed Alessandro Victorio Clas- 
sico sculp., which is probably by the same artist. 

CLATER, Tuomas, exhibited portraits and sub- 
ject pieces at the Royal Academy from 1820 till 
1859. He died in 1867. 

CLAUDE, a French painter upon glass, called 
by the Italians CLAuDIO FRANCEsE, born in the south 
of France about 1470, to whom is due the honour 
of having introduced the art into Italy. Claude 
took with him to Rome a colleague, named Guil- 
laume, and they together executed at the Vatican 
many windows which were destroyed in the siege 
of 1527. They also painted for the church of Santa 
Maria del Popolo two windows representing the 
history of the Virgin, which still exist. Claude 
died soon after their completion. 

CLAUDE LORRAIN See GELLEE. 

CLAUDOT, JEAN BaprisTE CHARLES, a French 
painter of landscapes, flowers, and still-life, was 
born at Badonviller (Vosges) in 1733. Several of 
his works are in the Museum of Nancy, where he 
died in 1814. He was the friend of Girardet and 
Joseph Vernet. 

CLAXTON, MarsHALt, a historical painter, was 
born at Bolton, in Lancashire, in 1811. He became 
a pupil of John Jackson, R.A., and was also a 
student at the Royal Academy, entering the school 
in 1831. The first picture which he exhibited was 
a portrait of his father, in 1832. ‘The Evening 
Star’ appeared in the following year. He obtained 
the first medal in the Painting School in 1834, and 
the following year he was awarded the gold medal 
of the Society of Arts, for a portrait of Sir Astley 
Cooper. He exhibited at the Royal Academy, the 
Society of British Artists, and the British Institu- 
tion. In 1837 he visited Rome, and stayed in Italy 
some time. At the Cartoon Exhibition at West- 
minster Hall in 1843, he obtained a prize of £100 
for his ‘ Alfred the Great in the Camp of the 
Danes,’ now in the Literary and Scientific Institu- 
tion at Greenwich. In Westminster Hall, 1845, 
he had a large oil picture of the ‘Burial of Sir 
John Moore at Corunna.’ About 1850 he went to 
Australia with the intention of raising a School of 
Art, taking with him a large collection of nearly 
two hundred pictures, which he exhibited to the 
public free. Being disappointed in his endeavours, 
he left about 1855, and went to India, where he 
sold all his large pictures. He returned with a 
portfolio full of sketches of Australian, Indian, 
and Egyptian scenery and figures. The Baroness 
(then Miss) Burdett-Coutts commissioned him, 
while in Australia, to paint a large picture of 
‘Christ blessing little Children,’ which is now in 
the school-room attached to St. Stephen’s, West- 
minster. It measures twenty by sixteen feet. 
Claxton died in London in 1881. Among his 
principal works are the following : 

Spencer reading the ‘ Faerie Queene’ 

to his Wife and Sir Walter Raleigh. | Painted for 
The Mother of Moses. rthe Baroness 


The Free Seat. | Burdett- Coutts. 
The Grandmother. 
General View of the Harbour and 
City of Sydney. Inthe possession 
Portrait of the Last Queen of the (of Her Majesty. 
Aborigines. 


Christ at the Tomb of Lazarus. 
300 


; 7 Eee, res oUF eae 
A BIOGRAPHICAL DICTI 


Walton-le-Dale, near Preston, in 1831, first studied — 
for the law, but abandoning it in 1852, he went to 
Liverpool, and in the same year came to London — 
and entered the schools of the Royal Academy. © 
From 1855 he was a regular contributor to its 
exhibitions. 
subjects of his best works are, however, taken from — 
Scottish and French history. In 1864 heexhibited © 


of St. Bartholomew’; in 1865, ‘The Huguenot’; | 
and in 1867, his masterpiece, ‘ The Return of Charles — 
IJ. to Whitehall in 1660.’ He died in 1868, at 

Rainhill, near Liverpool. ae 


born at Bruges in 1819. 
was completed in France, where he became a 
pupil of Gudin. 
himself at Brussels, where he soon made a name 
for himself. In the choice of his subjects, and in 
their placid presentment he followed the methods 
of the old Dutch masters, though occasionally he 
could paint harbour-pieces full of the stir and 
bustle of modern life. 
colour, a broad and simple style, his atmospheric 
effects being most remarkable. Among his most 
important works we may mention ‘L’Escaut a 
Anvers, ‘Un Coup de Vent sur L’Escaut a 
Anvers,’ ‘ L’Entrée de La Riviére de Southampton,’ 
‘La Tamise aux Environs de Londres,’ ‘Le Zuider 
Zee,’ ‘La Rade de Dordrecht, &c. &e. 
characteristic canvases of his were shown in the 
Salon of 1899: 
Waal’ (in the environs of Amsterdam). 
was made a chevalier of the Legion of Honour in 
1867, and was promoted to the grade of officer in 
1881. 


painted still-life and fruit in oil and water-colours _ 
about the middle of the 18th century. He has left 
no remembrance of his works, some of the chief of —_ 
which were destroyed by fire in 1769. He died at 

Enfield in 1800, aged 72. ; 


B. c. 900, was one of the earliest of the Greek artists, 
and is considered by some as the inventor of the __ 
‘pictura linearis’, or monogram, a picture consisting 
of a simple outline, with the interior lines of the 
figures expressed, but without any light or shade 
or local colouring. 


van Cleef, the elder, and of Willem van Cleef, the 
younger, was a native of Antwerp. 
known under whom he studied; but he went to 
Italy when young, and returned to his native 
country a good painter of landscapes. 


L’Alleyn, OS eee 
Jews Mourning over Jerusalem. 
Sir Joshua Reynolds and his Friends 
Hagar and Ishmael, sy ae 
High Church: Low Church: No Church (in thr 
partments). eS: 
The Death-Bed of John Wesley. 5 


The Last Interview between Dr. Johnson and Sir [ 


Reynolds. ' Aes ce ce 
The Sepulchre. (Exhibited at the International Exhibi- 
tion, London, 1862.) yas GE 


CLAY, ALrrep Barron, who was born 


He began by painting portraits; the — 


‘Charles IX. and the French Court at the Massacre — 


CLAYS, Pau, Juan, Belgian marine painter, 
His artistic education 


On leaving Paris he established 


He had a fine sense for 


Two 
‘Vue D’Anvers’ and ‘Calme au 
Clays 
He died at Brussels on February 10, 1900. 
P, Nae 
CLAYTON, Joun, who originally studied surgery, 


CLE, Cornexis pg. See Dz Cri. 
CLEANTHES, who flourished at Corinth about 


CLEEF, Henprik vAN, the brother of Marten 


It is not 


His pic- 
tures are distinguished by an uncommon lightness 
of touch, and an excellent tone of colour, The 
backgrounds of the historical works of his brother 
Marten and of Frans Floris are frequently painted 


- dorus Galle. 


re. a SHS i Voge ee eZ, 


himself as an engraver. We have several plates by 
him of landscapes and views near Rome, after his 
own designs or those of Melchior Lorch, which he 


sometimes signed Henricus Clivensis, fecit, and 


sometimes marked with the ep AP ENT OY They 


are as follow: 

A Bull-fight at Rome, before the Farnese Palace. 

A Landscape, with Figures in a Cave, cooking. 

Another Landscape, with Figures at Table in a Cave 

A set of six Landscapes, with Latin titles. 

A set of four Views in the vicinity of Rome. 

There is a series of thirty-eight plates by this 
artist, entitled Ruinarum varw prospectus, rurt- 
umgue aliquot delineatriones, published by Theo- 
He died at Antwerp in 1589. 

His son, HENDRIK VAN CLEEF, who was born at 
Antwerp, settled abeut 1597 at Ghent, where he 
was much esteemed, but his works are now con- 
founded with those of his father. He died at Ghent 
in 1646. 

CLEEF, JAN VAN, a painter of the Flemish 
school, was born at Venloo in Guelderland in 1646. 
After receiving some instruction from Primo Gentil, 
he entered the school of Gaspar De Craeyer, 
at Brussels. Under that artist young Van Cleef 
made surprising progress, and in a few years 
was able to assist his master in the immense 
number of works on which he was engaged for the 
churches in the Low Countries, On the death of 
De Craeyer, Van Cleef was entrusted with the com- 
pletion of the works left unfinished by his master. 
He was now considered one of the ablest artists of 
his country, and immediately received many com- 
missions for the churches and convents, in which 
he has given satisfactory proof of the respectability 
of his talents. Without being an imitator of De 
Craeyer, he followed the same simple purity of 
colour, and was equally correct in his design, in 
which he displayed something of an Italian style. 
His great practice gave him an uncommon facility, 
and his compositions are distinguished by judgment 
and taste. His works are very numerous in 
Flanders and Brabant; the most esteemed of them 
are atGhent. Inthe church of St. Nicholas is a fine 
picture of ‘The Magdalen at the Feet of Christ.’ In 
St. Michael, there is the ‘ Immaculate Conception’ 
In St. James’s church is a fine picture of the 
‘ Assumption,’ and in the gallery the ‘Crowning of 
St. Joseph.’ His most admired work is in the 
chapel of the Convent of the Black Nuns, represent- 
ing Sisters of that Order administering succour to 
a group of figures afflicted with the Plague, It is 
an admirable picture, in drawing and colouring 
approaching the excellence of Van Dyck. He died 
at Ghent in 1716. 

CLEEF, Joost van, called ZoTre CieEr (Mad 
Cleef), was born at Antwerp about the year 1520, 
and was instructed in painting by his father, 
‘Willem van Cleef, the elder. Joost was an 
excellent colourist ; and though it does not ap- 
pear that he ever was in Italy, his pictures are 
composed and designed more in the style of the 
Italian than the Flemish school. He painted some 
altar-pieces for the churches in Flanders, which 
were so much praised that he became intoxicated 
with conceit. Van Cleef came to England in 1554, 


PAINTERS AND ENGRAVERS. 


by this artist, and are harmonized with the figures 
_-_—s with great intelligence. In the Belvedere at Vienna 
is the ‘ History of the Prodigal Son’ by him. He 
ss was received into the Guild of St. Luke at Ant- 
-werp in 1551. Hendrik van Cleef distinguished 


with the confident hope of brilliant success, and 
was introduced to King Philip by his countryman, 
Sir Antonio Moro, But, unfortunately for his 
expectations, some of the fine pictures of Titian 
had arrived before him, and Philip was too much 
charmed with the beauties of the Venetian to do 
justice to the undoubted merit of the Fleming. 
Finding his prospects thus blasted, be became 
furious, and vented his rage on Moro as the cause 
of his disgrace. In the catalogue of the pictures 
of James II. appear two by Van Cleef, ‘The 
Nativity’ and ‘The Judgment of Paris.’ His 
death occurred probably about 1556, for he is 
said to have died at the age of 36. There is much 
confusion in the records of the artists of this name. 
Hendrik, Marten, and Willem were brothers, and 
were contemporaries of Joost, but there is no 
absolute proof that they were related to him, 
Althorp. Earl Spencer. His own Portrait. 

Antwerp. Cathedral. St. Cosmoand St. Damian. 
Berlin. Gallery. Portrait of a young man. 
Windsor. Castle. The Artist and his Wife. 

CLEEF, Marten VAN, was a brother of Hen- 
drik van Cleef, and a disciple of Frans Floris. 
He painted historical subjects, and was employed 
for some of the churches, but was more esteemed 
for historical pictures of an easel size, in which 
the landscapes and backgrounds were painted by 
his brother Hendrik. He is called the ‘ Master of 
the Ape,’ because he sometimes introduced the 
figure of an ape (in allusion to his name) as his 
mark. In the Belvedere at Vienna is a painting 
by him of ‘Men, Women and Children, seated at 
table in a farm-house.’ He became a member of 
the Guild of St. Luke at Antwerp in 1551, and 
died about 1570. 

CLEEF, WiLLEM van, who was also a brother 
of Hendrik van Cleef, was received into the 
Guild of St. Luke at Antwerp in 1550. Itis thought 
that he may have studied under Floris. He painted 
figure subjects, and died young. 

CLEIN, Franz. See CLryn. 

CLEIN, Hans, an engraver on copper and wood, 
as well as a goldsmith, was a native of Nuremberg, 
where he died in 1550. The only engraving by 
him mentioned by Passavant (‘ Peintre-Graveur,’ iii. 
38,) is a ‘Battle of eleven Naked Men,’ after the 
Master IB., dated 1527. The woodcuts which are 
known to be by him are: 

St. John the Baptist preaching in the Desert. 

An Apostle preaching from a Ship. 

The Betrayal of Christ. 

The Battle of Naked Men. 1524. (After the Master IB.) 

CLEMENS, JoHAn FREDERIK, a Danish line- 
engraver, born at Golnau near Stettin in 1749, 
studied painting in the Copenhagen Academy under 
Mandelberg, and engraving under J. M. Preisler, 
and then in Paris under Wille and Delaunay. He 
visited Berlin and London; but worked after 1795 
in Copenhagen, where he died in 1831. His best 
plate is the ‘Death of General Montgomery at the 
Battle of Quebec,’ after ‘Trumbull, engraved in 
London in 1792. Besides this he engraved ‘ Fred- 
erick the Great with his Generals,’ after Cunning- 
ham, a ‘ Holy Family,’ after Taraval, and a number 
of portraits. 

His first wife, MArtze JEANNE CREVOISIER, to 
whom he was married in 1781, was also an artist. 
She was born in Paris in 1755, and worked at first 
in pastels, but afterwards studied engraving. She 
died at Berlin in 1790 or 1791. 

CLEMENT, Fsi1x AvcustE, was born at Dou- 

301 


zere, Dréme, in 1896. He was a pupil of Drolling 
and Picot, and obtained the first ‘ prix de Rome’ in 
1856. He settled in Cairo, and contributed pictures 
of Oriental subjects to the Salon. Later in life he 
‘painted French landscapes and some portraits, 
He died in 1888. 

CLEMENTONE. See Bocorarpo. 

CLENNELL, Luxe, an English painter, and 
engraver on wood, of extraordinary genius and 
talent, the son of a farmer, was born at Ulgham, 
near Morpeth, in Northumberland, in 1781. His 
early disposition for drawing, and neglect of other 
studies or pursuits, induced his friends to place him, 
in 1797, with the celebrated Bewick, in whose art 
he soon showed great skill. But he did not confine 
himself to engraving ; he produced several pictures 
which attracted public attention, and gave promise 
of future excellence as a painter. Among these 
were the ‘ Arrival of the Mackerel Boat,’ and the 
‘Day after the Fair,’ in which he gave a happy 
delineation of rustic character, and showed great 
knowledge of colour. His picture of the ‘ De- 
cisive Charge made by the Lifeguards at the Battle 
of Waterloo,’ which was afterwards engraved by 
Bromley, established his reputation ; but its excel- 
lence assisted in the melancholy termination of 
his existence. In consequence of the sensation 
which it produced, he was selected to paint the 
entertainment given by the city of London at the 
Guildhall to the allied sovereigns, nobles, and 
generals who had shared tn that memorable battle. 
The honour was fatal to his health and life. The 
vexations he had to encounter from vanity, caprice, 
and supercilious arrogance, affected his mind so 
much that he lost his reason. This was in 1817, 
and though he recovered his reason partially for 
some years, yet the malady returned in 1831, and 
he was removed to an asylum at Newcastle-on- 
Tyne, where he diedin 1840. Clennell was skilful 
in composition, and in seizing the true points of 
character; he had great power of execution, and 
was well acquainted with the practical parts of art. 
He engraved the cuts to Falconer’s ‘Shipwreck,’ 
and. Rogers’s ‘ Poems,’ after Stothard, as well as 
the Diploma of the Highland Society after West. 
He made many drawings for Scott’s ‘ Border Anti- 
quities,’ and was a frequent exhibitor at the Royal 
Academy and the Water-Colour Exhibition. The 
South Kensington Museum has three pictures by him. 

CLEOPHANTUS, an ancient Corinthian artist, 
who flourished about B.c. 650, and is said to have 
been the first to fill up the contour of the figure 
with one colour, for which invention he received 
the name of ‘ Monocromatos.’ 

CLERC, JEAN and S#BASTIEN LE. See LECLERC, 

CLERCK, Henprrk pe. See Dr CLERCK. 

CLERGET, ADELE. See MELLING. 

CLERISSEAU, CHARLES Lovls, an architect and 
water-colour draughtsman, was born in Paris in 
1722. He visited Rome, where he resided some 
time, and became well acquainted with the artists 
of that city, especially Winckelmann. He accom- 
panied Robert Adams to England, where he re- 
mained some time, and made the drawings for 
the ‘Ruins of Spalatro,’ which was published in 
1764. On his return to France in 1778, he pub- 
lished the ‘ Antiquités de France,’ ‘Monumens de 
Nimes,’ and other works; and was appointed, in 
1783, architect to the Empress of Russia. He is, 
however, best known to the world by his fine 
drawings in water-colours of the remains of ancient 
architecture, which are held in high estimation. 


302 


An nae A Tivoli,’ eemee 
South Kensington Museum. The 
works were drawn by Antonio Zucchi. Hi 
Auteuil, near Paris, in 1820, in his 99th yea 

CLERK, JOHN, of Eldin, an amateur drau 
man and etcher, was a son of Sir John Clerk 
Penicuik, Bart. 


but he relinquished mercantile pursuits to become 
Secretary to the Commissioners on the Annexed 


Estates in Scotland. From an early period of his — 


life he evinced a fondness for sketching from — 
nature, and many of these sketches he afterwards — 
etched on copper. In 1855 the Bannatyne Club 


issued a series of his etchings, chiefly views in : 


Scotland, and some of his drawings were engraved — 
for Sibbald’s ‘Edinburgh Magazine.” He was 


the father of Lord Eldin, one of the Lords of ‘ 
Session, and was the author of an essay on ‘Naval _ 
which gave rise to much controversy, 


Tactics,’ 

He died at Eldin in 1812. 
CLESIDES. See CrsEsicuzs, 
CLEVE, Van. See CLEEF. 


CLEVELEY, Joun, an English marine painter, 


was born in London about 1745, He was brought 


up in the dockyard at Deptford, and studied water- _ | 
colour painting under Paul Sandby; afterwards, 


he became a draughtsman in the navy, and in 
1774 accompanied Captain Phipps (afterwards Lord 
Mulgrave) in his voyage of discovery to the Arctic 
Regions. He also went with Sir Joseph Banks 
to Iceland. He sometimes painted in oil, and 
was an exhibitor at the Royal Academy from 1770 
till 1786. Many of his drawings have been en- 
graved. In the South Kensington Museum is ‘A 
Launch at Deptford Dockyard about 1760,’ in oil, 
and three water-colour drawings by him. He died 
in London in 1786. 

CLEVELEY, Roxsert, who in early life was a 
sailor, exhibited marine pictures at the Academy 
from 1780 to 1803, and was appointed marine- 
painter to the Prince of Wales. He frequently 
painted naval actions such as ‘The “Solitaire” 
striking her colours to the ‘ Ruby,”’ ‘Nelson 
boarding the San Josef,’ and ‘ Karl Howe’s Victory.’ 
He died, through falling from the cliff at Dover, in 
1809. Inthe South Kensington Museum are two 
water-colour drawings of English Ships of War. 

CLEVENBERGH, Anroinz, a Flemish painter 
of still-life, was born at Louvain in 1755. He 
studied historical painting under Verhaeghen, and 
made large pen-and-ink drawings, which possess 
much merit. He died in 1810. 

CLEYN, Franz, (also Kuzyn, or CLEIN,) was 


born at Rostock, in Mecklenburg-Schwerin, about 


1590 or 1600, and was for some time in the em- 
ployment of Christian IV., King of Denmark. He 
afterwards went for improvement to Rome, where 
he passed four years, and acquired a talent for 
designing ornaments, by which he afterwards dis- 
tinguished himself. He came to England in the 
reign of James I., and was taken into the service 
of the king, who first employed him in designing 
subjects for tapestry at the Mortlake manufactory. 
He received a pension from the king, which he 
continued to enjoy under Charles I., until the Civil 
War. He died in London in 1658. Cleyn was 
much employed in decorating the mansions of the 
nobility. Some of the best preserved of his 
works are in Holland House, where he painted a 


chamber, with a ceiling, and small compartments 


on the chimneys, which bear some resemblance to 


He was born at Penicuik in 1728, 
and was for some years a merchant in Edinburgh, 


the | y of Parmigiano. He also made designs 
for Virgil and for A’sop’s Fables, which were en- 
graved by Hollar, Cleyn etched afew plates, which 
ometimes signed with his name, and sometimes 
h the initials #. C. and #. KX. We have by 
Pe onim: : 

| ae 
a set of five Plates of the Senses, with grotesque orna- 
_  &£&ments. 
s ‘The Seven Liberal Arts; F. Cleyn fecit. 1645. 


~ 


___ A set of ten Plates of Grotesque Ornaments. 
_____ His sons, CHARLES CLEYN and JoHN CLEYN, were 
also painters, They both died young in London. 
__- Franz was bornin 1625, and died in 1650. Their 
sister, PENELOPE CLEYN, practised miniature paint- 
ing with great success. ~ 
- -—s«CLINCHAMP, Francois Errennz Victor, Mar- 
quis de, a French painter and author, was born 
at Toulon in 1787. He was destined to a naval 
- eareer, but his health failing he went to Paris, 
_ ‘where he studied painting under Lebarbier and 
Girodet. He gave to his native town several reli- 
gious and historical pictures: ‘Christ healing the 
‘Sick of the Palsy,’ ‘The Sons of Zebedee,’ ‘The 
- Death of Phocion, ‘The Baptism of St. Mandrier,’ 
and a ‘Crucifixion,’ which was his best exhibited 
work. He wrote some works on perspective, and 
several dramatic pieces. He died in Paris in 1880, 
- CLINT, ALFRED, painter, born in 1807, was the 
son and pupil of George Clint, A.R.A. He first 
- appeared at the Academy in 1829, with ‘A Study 
_ from Nature,’ and several of his later works were 
exhibited with that body. He contributed more 
frequently, however, to the shows of the British 
Artists, of which society he became a member in 
1843, secretary in 1858, and president in 1870. He 
painted a few portraits early in his carcer, but his 
popularity rested chiefly on his landscapes and 
coast studies. In 1849 he published a ‘ Guide to 
Oil Painting.’ He died in 1883, 
fu.) 6CLINT, Decne. who, like Turner, was the son 
__ of a hairdresser, was born in London in 1770. 
In early life he occupied his leisure hours in 
miniature painting ; but eventually, he took to it as 
a profession. His miniatures produced at this 
period have been highly spoken of. He next be- 
came acquainted with Mr. Bell, the publisher of 
the illustrated edition of the British Poets, whose 
nephew, Edward Bell, a mezzotint engraver, initi- 
____ ated him into the mysteries of engraving. He not 
only painted miniatures, but made drawings of 
machinery and philosophical apparatus, and en- 
graved in mezzotint, in the chalk style, and in out- 
line. Among his early works are ‘ The Frightened 
Horse,’ after Stubbs, a chalk engraving; ‘ The 
Entombment of Christ,’ after Dietrich ; numerous 
portraits in the chalk style; a large bold engrav- 
ing in mezzotint of the ‘Death of Nelson’ (1807), 
after the fine picture painted by W. Drummond, 
A.R.A.; and a set of Raphael’s Cartoons in outline. 
He was introduced to Sir Thomas Lawrence, who 
gave him some of his pictures to engrave. He 
was also commissioned to engrave ‘The Kemble 
Family,—containing portraits of John Kemble, 
Mrs. Siddons, Charles and Stephen Kemble, Blanch- 
ard, Wewitzer, Conway, Park (the oboe player), 
Miss Stephens (afterwards Countess of Essex), 
| and other celebrities—which had been recently 
| painted by Harlow for Tom Welsh the musician, 
and had created an immense sensation on being 
exhibited at the Royal Academy. Its popularity 
was so great that it was engraved three times. 


bag TT eect ae ee pA te Me a ern yeaa er ae 


Vicwtigs 
on 


Ping pics Say 1 bereits een PEEREN 


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PAINTERS AND ENGRAVERS. 


Clint painted in water-colour as well as in oil, and 
his painting-room in Gower Street became thronged 
with all the distinguished actors and actresses of 
the day, and with the supporters of thedrama. The 
result of this popularity was a series of fine drama- 
tic pictures which will preserve his name along 
with that of Zoffany, to whom, in many respects, 
Clint was superior. The first of these theatrical 
subjects was a picture of Farren, Farley, and 
Jones, as Lord Ogleby, Canton, and Brush, in the 
comedy of the ‘Clandestine Marriage.’ Then fol- 
lowed Munden, Knight, and Mrs. Orger, in ‘ Lock 
and Key,’ painted for the elder Mathews. This 
picture secured his election as an Associate of the 
Royal Academy, in 1821. At this time Welsh 
proposed to Clint to paint a companion subject to 
‘The Kemble Family,’—the last scene in ‘A New 
Way to pay Old Debts,’ in which Kean as Sir 
Giles Overreach was drawing all the town—and an 
admirable picture was the result. The picture of 
the ‘ Beggars’ Opera,’ perpetuating Blanchard, Mrs. 
Davenport, and Miss M. Tree, was Clint’s next pro- 
duction. Then followed: 

Tayleure, Mrs. Davenport, and Clara Fisher, in the 

‘Spoilt Child’ (painted for Lord Liverpool). 

Fawcett and Charles Kemble as Captain Copp and 
Charles IT. ( painted for Mathews). 

Mathews, Liston, and Blanchard, in ‘ Love, Law, and 
Physic;’ Mathews as the Lying Valet; Bartley as 
Sir John Falstaff; Oxberry as Master Peter; Har- 
ley as Popolino in ‘ The Sleeping Draught ;’ Liston 
and Farren in ‘Charles XII’ (painted for Lord 
Essex). 

Miss Foote as Maria Darlington (painted for Colonel 
Berkeley). 

Young as ‘ Hamlet.’ 

Kean as ‘ Richard IIT.’ 

Macready as ‘ Macbeth.’ 

Liston, Madame Vestris, Miss Glover, and Williams, in 

‘Paul Pry.’ 1831. Jn the South Kensington Museum. 

Charles Young as ‘Hamlet,’ and Miss Glover as 
“Ophelia” 1831. Jn the South Kensington Museum. 

Many of this interesting series of pictures, repre- 
senting a phase in our drama which has since 
entirely passed away, ornament the walls of the 
Garrick Club. Falstaff and Mistress Ford by him 
is in the National Gallery. The talent displayed 
by Clint procured him the friendship of Law- 
rence, Beechey, Mulready, Stanfield, Roberts, and 
other members of the Royal Academy. But, in 
spite of all, Clint remained for sixteen years an 
Associate, and never attained the higher rank of 
Academician. Younger men passed over his head, 
and some less worthy of the honour than himself. 
At last, finding the efforts of his friends of no 
avail, he determined to resign his position as an 
Associate, which he did in 1835. He died at 
Kensington in 1854. In portrait painting Clint 
was eminently successful: his men were gen- 
tlemen, and his ladies modest and charming. 
Associated with Mulready, Cooper, and other dis- 
tinguished artists, he laboured unceasingly to estab- 
lish those valuable institutions, the Artists’ Bene- 
volent and Annuity Funds. He had four sons, of 
whom LUKE, the eldest, after giving great promise 
as a scene-painter, died young. RAPHAEL was a 
gem-engraver, and possessed considerable talent. 
Scipio distinguished himself as a medallist, and 
died in 1839, aged 34, just as patronage was about 
to be bestowed on him. 

CLOCHE, C., was a French engraver, who flour- 
ished about the year 1616, He engraved amongst 
other plates a portrait of Jean Boisteau de La 
Broderie, and a view of the city of Rennes. 


303 


£ fat i oe 
a SA SIO 


was born at Leyden about the year 1570. Accord- 
ing to Heinecken, he was a disciple of Frans Floris. 
His style resembles that of Cornelis Cort, with- 
out being nearly equal to that master. We have 
by him the following prints: 

The Four Elements; represented in half-length figures, 


1597. 
The Judgment of Midas; after Karel van Mander. 1589. 


CLOET. See CLouEt. 

CLOSE, SamvEL, a native of Dublin, was an en- 
graver, who was deaf and dumb, and of intemperate 
habits. He died in 1817. 

CLOSS, Gusrav, a landscape painter, was born 
at Stuttgart in 1840, and received his first instruc- 
tions in the School of Arts there under Funk, but 
afterwards studied in Rome, Naples, Munich, Paris, 
and other places. He also made a number of 
student-tours, especially to the Chiem-See in Bavaria, 
on the borders of which he died in 1870 at Prien. 
He produced a number of Italian views, and also 
published ‘Illustrations to Wieland’s Oberon,’ a 
magnificent volume entitled ‘Truth and Fiction,’ 
and ‘ Ubland and his Home at Tubingen,’ the plates 
in which show the influence of Doré. Of his 
paintings may be mentioned: 

The Villa of Hadrian. 

Road near Sorrento. 

The Campagna near Rome. 

Evening in the Villa Pamfili. 

Cypresses in Tivoli. 


Christmas Eve. 
The Lonely Inn. 


CLOSTERMANN, JoHAny, (known in England 
as JOHN CLOSTERMAN,) was born at Osnabrick 
in 1656. He was the son of a painter, who 
taught him the rudiments of drawing. In 1679 he 
went to Paris, where he was engaged by De 
Troyes to paint his draperies. He came to Eng- 
land in 1681, and was for some time employed in 
a similar way by Riley. After the death of that 
artist, Clostermann painted the portraits of several 
of the nobility, though he was an artist of very 
limited merit; but at that period the art was 
in a very low state in England. He was several 
times in Italy, and in 1696 was employed at the 
court of Spain, where he painted the King and the 
Queen. Portraits of Queen Anne and the Duke of 
Marlborough by him are in the National Portrait 
Gallery. A picture similar to the former is in the 
Council Chamber, Guildhall, and a replica of the 
latter is at Blenheim, Others of his portraits are 
the Family of the Duke of Marlborough, and 
the Duke of Rutland, He died in London in 1713. 

CLOUET,, AuBERT, (CLOVET, or CLOWET,) a 
Flemish engraver, was the nephew of Pieter Clouet, 
and was born at Antwerp in 1624. Following the 
example of his uncle, he visited Italy in the early 
part of his life, and became a pupil of Cornelis 
Bloemaert. Among his first productions were some 
plates of portraits of painters, for Bellori’s ‘ Vite 
de’ Pittori,’ published at Rome in 1675. He also 
engraved several portraits for the work entitled, 
‘Effigies Cardinalium nunc viventium,’ published 
at Rome by Rossi. At Florence he engraved after 
some of the pictures in the Pitti Palace. His plates 
of historical subjects are executed in the neat and 
finished style of Cornelis Bloemaert, but in his por- 
traits he sometimes imitated the manner of Mellan, 
and at others that of F. de Poilly. He died at 
Antwerp in 1687. The following are his principal 
prints : 

304 


CLOCK, Niconaas, or CLAAS, a Dutch engraver, Oo 


mi me ORT ; 
Nicolas Poussin, in Bellori’s ‘ Vite d 
Sir Anthony van Dyck ; the same. 
Cardinal Thomas Philip Howard, © 
Cardinal Azzolini; after Vouet. 
Cardinal Rospigliosi: after Morandi. 
Cardinal Rosetti. NR 
Cardinal Francis William of Wiirtemburg. _ 
Maximilian, Count of Wolfegs. hohe ieamey 
A Medallion of Pope Alexander VII. 


SUBJECTS FROM VARIOUS MASTERS. 

The Image of the Blessed Umiliana; after Baldi 
Sepulchral Monument of Paul ITI.; after Barrier 
The Miraculous Conception ; after Pietro da Cortona ; 
in two sheets, fine and scarce. a 

An Attack of Cavalry ; after Borgognone ; fine. 
The Battle of Joshua with the Amalekites; in two 
sheets; after the same. | ete 
CLOUET, Francois, also called JEHANNET, 
JANNET, and more frequently JANET, a French por- 
trait painter, was born, probably at Tours, between — 
the years 1516 and 1520. His father, Jean Clouet, 
the second of that name, (whose sobriquet derived © 


from his Christian name Jean, Frangois also took,) __ 
emigrated from Brussels to Tours, and after his 
arrival in France held the joint offices of court 


painter and ‘ valet-de-chambre’ to Francis I. In | 
the year 1541, that of his father’s death, Frangois 
Clouet was, in consequence of his father’s services, 
formally naturalised, and appointed to the vacant 
position at court. In that capacity he was em- 

ployed on the death of his patron, in 1547, to — 
make a wax cast of the hands and face of the de- 
ceased monarch to be used at the great state funeral ; 
and again had to perform a similar service on the 
death of Henry II. in 1559. He retained his posi- — 
tion as court painter also under Francis I]. and 
Charles IX. He was still living in 1572, and 
died most likely in the following year. His 
paintings bear distinct traces of a Flemish origin, 
and their style differs widely from that of the 
Italian artists whose paintings were then in vogue 
in France; paintings which were tainted with an 
affected sentimentality, and a disregard of nature. 
Clouet, on the contrary, like the Van Eycks and 
Memling, had clearly made truth and accuracy 
his principal aim. Still his works are not Flemish 
throughout, as they possess also a distinctly 
French element, which is observable in the ele- 
gance that pervades them as well as in the taste 
that grasps the most advantageous point of view 
from which to treat them. His aim is apparent 
on the surface, and yet it is the result of careful 
study. The more closely the work is examined 
the deeper is the insight obtained into the moral 
and physical character of the person represented. 
The delicacy of his form is all the more re- 
markable from its being rendered through the 
medium of simple pale tones without any attempt 
at chiaroscuro; and this fact has but to be 
appreciated for it to be at once admitted what — 

a real master he was in respect of lightness of 
hand and certainty of touch. The following 
are some of the principal works ascribed to 
him : 


Althorp. Earl Spencer. Francis II. 

nv sh Mary, Queen of Scots, 
Antwerp. Museum. Francis II. 
Berlin. Gallery. Francis II. . 

ue a Duke of Anjou (Henry III.). 
Dresden. Gallery. Jeanne de Pisseleu, Duchess 

of Etampes. 
Florence, Pitti Palace. Henry II, 
: Uffizi. Francis I.,equestrian portrait, — 


al ( wed Boe 
ae pred ‘ 


CO urt. Palace. Francis II. 
gy Mary, Queen of Scots. 
id Nat. Gail. 5 


don. Man’s Portrait. 
oe. ereford House. 
unich. 


Boy’s Portrait. 
Mary, Queen of Scots. 
Pinakothek. Claudia, daughter of Henri 
II. of France. 


: Louvre. Charles IX. 
‘ee Elizabeth of Austria, wife of 
Charles IX. 
Charles IX. 1563. 


The Marqnis of Biencourt possesses a remark- 
able portrait of the Duke of Montmorency, besides 
other works by Clouet, There are in the British 
_ Museum some crayon heads, and at Chantilly there 
are now eighty-eight portraits in black and white 
chalk in the manner of Holbein, representing 
_ persons eminent at the French court in Clouet’s 
_ day, which are considered to be his work, 
See Lord Ronald Gower’s book on Castle 
_ Howard pictures, 

_ CLOUET, Jean, (or CLozT,) the elder, a Flemish 
painter of historical subjects and portraits, was 
employed by the Duke of Burgundy, and was 

living at Brussels in 1475. He died about 1490. 
_ There is no proof of his having visited France, 
much less of his having settled at Tours between 
_ the years 1475 and 1485, as has been asserted. He 

- was an artist of great talent, and may be included 
among the celebrated miniature painters of his 
time. 

CLOUET, Jan, the younger, was a painter of 
Flemish origin who established himself in France, 
probably at Tours, prior to the accession of 
Francis I. It appears highly probable that his 
_- father was the Jean Clouet who was painter to the 
Duke of Burgundy. He himself became court 
_ painter to Francis I., and his name occurs in that 

capacity as early as 1518. He is supposed to have 
been born about 1485. In the documents in which 
reference is made to him he is called Jehan, Jehan- 
not, and Jehannet. Besides the office of court 
painter he held that of ‘ valet-de-chambre.’ There 
is much uncertainty about his works, but the fol- 
lowing are generally attributed to him: a small 
____ painting of Francis I. in armour, in the Uffizi at 

Florence; a full-length figure of Eleanor of Spain, 
> wife of Francis I, at Hampton Court; and a 
picture of Margaret of Valois, in the Royal Insti- 
tution at Liverpool. If these are correctly as- 
signed to him, it would appear that his pictures 
were distinguished from those of his son by sharper 
__ outline, and by a more antique rendering. He died 
>» __ in 1541, in all probability in Paris. 

CLOUET, Perrus, (also CLowET, CLOUWET, or 
CLovET,) a Flemish engraver, was born at Antwerp 
in 1606, and died there in 1670. After having 
learnt the rudiments of the art in his native city, 
he went to Italy, and at Rome became a pupil of 
Spierre, and Bloemaert. On his return to Antwerp, 
he engraved several portraits and subjects after 
Rubens. They are executed with the graver in a 
firm, clear manner, resembling the style of Pontius, 
but are not equal to the works of that master. His 
plates, particularly those after Rubens, are con- 
siderably esteemed. We have the following by him: 


i PORTRAITS. 
| Pietro Aretino. 

q Thomas 4 Kempis. 

q Ferdinando Cortes. 
William Cavendish, Duke of Newcastle; after Diepen- 

beeck. 

| Christoffel van der Lanen, painter; after Van Dyck, 

F Theodorus Rogiers, Goldsmith ; after the same. 

x 


+ were executed by Benvenuto Cellini. 


ass Ord te il aa 


PAINTERS AND ENGRAVERS. 


Anne Wake, Countess of Sussex. holding a Fan of 
Feathers ; after the same. 

Henry Rich, Earl of Holland ; after the same. 

Some of the Plenipotentiaries at the Congress of 
Munster ; after Van Hulle. 

SUBJECTS FROM VARIOUS MASTERS, 

The Descent from the Cross; after Rubens. 

The Death of St. Anthony; after the same; fine and 
scarce. 

St. Michael discomfiting the Evil Spirit; after the 
same, 

The Epitaph of Rubens, with Accessories. 

Several gallant Figures in a Garden; called The Garden 
of Love. The first impressions are with Flemish 
verses ; fine and scarce. Those with the address of 
C. van Merlin are retouched, and very inferior. 

A large Landscape, representing Winter, with the Snow 
falling, and a Stable with Cows; belonging to a set 
of six landscapes, of which five are engraved by 
Bolswert. 

The Virgin suckling the Infant Jesus ; after Van Dyck, 
who has etched the same subject. 

A Company of Cavaliers and Ladies at Table, said to 
be the Family of the Duke of Newcastle; after 
Diepenbeeck. 

CLOVIO, Gioreio GrIvLio, (called Macrepo,) was 
an extraordinary artist, who was born at Grizane in 
Croatia in 1498. After learning the rudiments of 
drawing in a convent of his own country, he went 
to Rome, where he was patronized by Cardinal 
Grimani. In the years 1516 to 1519 Clovio executed 
for him several excellent pen-and-ink designs for 
medals and seals; thereby acquiring the habit of 
designing small figures, which he executed with a 
taste, accuracy, and firmness that gave grandeur 
to miniature. He entered the school of Giulio 
Romano, and devoted himself entirely to miniature 
painting,—a branch of art which he ennobled by 
his inimitable talent, and in which he acquired a 
reputation that ranks him with the great, at a period 
which immediately succeeded the most distin- 
guished epoch of Roman excellence. In his de- 
sign of the figure, extraordinary as it may appear, 
he evinces something of the greatness of the 
Roman school, and of Michelangelo, whose works 
and those of Raphael he especially studied, and 
the naturalist will find every insect delineated 
with astonishing correctness, although on so dimi- 
nutive a scale as to require the use of a magnifier. 
His works were executed solely for the sovereigns 
and princes of his time, in whose libraries were 
found books embellished with his miniatures, 
painted with extraordinary force and beauty of 
colouring, with the most correct design. The 
most extraordinary work of Clovio is the pro- 
cession of Corpus Domini, at Rome, painted in 
twenty-six pictures, which occupied the artist dur- 
ing nine years. The rich covers to this masterpiece 
At Milan, 
the Cistercians possess a picture by Clovio of the 
‘Descent from the’ Cross,’ which breathes all the 
spirit of the golden age of Roman art. He died at 
Rome in 1578, His cognomen Macedo, or Macedone, 
was given him, it is supposed, because his ancestors 
were of Macedonia. His works are so incredibly 
numerous that their description would fill a large 
volume; we therefore give only a short list of 
some of his principal productions : 

Florence. Pritt Pal. Deposition, signed JULIUS MACEDO 


FA. 
London. Soane Coll. The Epistle of St. Paul to the 
Romans. 
* British Mus. The Victories of the Emperor 


(Grenville Charles V. (Zwelve miniatures 
Collection.) painted for Philip II., King of 
Spain, formerly in the Escorval, 


305 


Naples. ) 
rich and precious covers of Ben- 


_ venuto Cellini. 

A Latin Missal, with numerous 
pictures (painted for Cardinal 
Farnese). 6. 

A Latin Psalter, with many beauti- 
ful miniatures (executed for Pope 
Paul III.). 1542. 

Rome. Vatican Lib. Dante’s Divina Commedia. 

In many of his illustrations of Choral, Mass, and 

Prayer-Books, and in the execution of small por- 

traits for lockets, he was assisted by his pupils, 

amongst whom were Bartolommeo Torri, Bernar- 
dino Buontalenti, and Marco Du Vall. 

CLOWES, BuTLeER, a mezzotint engraver, who 
worked in the latter half of the 18th century, and 
died in 1782. He engraved from his own designs, 
and also after Heemskerk, Stubbs, and others. 

CLOWET. See CLover. 

COBERGHER. See KorBERGER. | 

COBLENT, Hermann, (or CoBLENTZ,) was a 
Flemish engraver, who flourished from about 1570 
to 1590. He was a pupil of Hans Collaert, whose 
works Coblent’s plates so much resemble in their 
neat and finished manner that they are often con- 
founded with them. Coblent marked his plates 


with a cipher composed of H. C. f. FE#. 


We have by him: 

The Four Evangelists ; four plates. 

Lucretia under an Arch. 

A set of the Heathen Deities, single figures under 

Arches. 

A Man seated at a Table, and a Woman behind him. 

COBO y GUZMAN, Joser, a Spanish historical 
painter, was born in 1666, at Jaen, where he 
learned to paint from Valois. He settled at Cor- 
dova, where he died in 1746. Some paintings by 
him are in the churches of that town, and are taste- 
fully executed in the style of Sebastian Martinez, 
by whom Valois was instructed. 

COCCAPANI, Sieismonpo, an Italian painter, 
who was born at Florence in 1585. He at first 
studied literature and mathematics, but abandoned 
them for painting, and became a scholar of Cigoli. 
In 1610 he went to Italy, and after his return home 
gained considerable reputation both as a painter 
and an architect. He died in 1642. 

COCCETTI, Pirtrro PaoLo, was a native of 
Italy, who flourished about the year 1725. He 
engraved some plates of architectural subjects, 
which are executed in a slight, indifferent style. 

COCCHI, Pomrro, was a painter who lived in 
the early part of the 16th century. In the cathedral 
of Perugia is a ‘ Virgin and Child’ by him with 
the date ‘ Anno M.D. xxv.’ (? 1527). No certain in- 
formation exists with respect to his birth or death. 

COCHEREAU, Lton MATHIEU, was a French 
painter, born at Montigny-le-Gannelon near Cha- 
teaudun in 1793. He was a pupil of David, of 
the interior of whose studio he has left us a paint- 
ing which now hangs in the Louvre. He died on 
the coast of Africa in 1817, when returning from 
Greece with his uncle, Pierre Prévost, the painter 
of panoramas, 

COCHET, AvGUSTINE, a French painter, born at 
St. Omer in 1788, She was a pupil of Chéry, and 
devoted herself chiefly to genre subjects and por- 
traits. She died in Paris in 1832. 

COCHET, JoszepH Anroinr. See CogErT. 

COCHIN, Cuarues Nicouas, the elder, a French 
line-engraver, was born in Paris in 1688. His 
father, Charles Cochin, was a painter, and Charles 

306 


” 29 


Paris. Louvre. 


A BIOGRAPHICAL DIC 


Royal Coll. The Book of Our Lady, with the | 
twenty-two years of age, when 


Nicolas followed the same profe 


painting and devoted himself entirely to engray 
In 1731 he became an Academician, and on t 
eccasion of his reception engraved the portraits 
Jacques Sarrazin and Eustache Le Sueur, He t 
turned his attention to the fancy subjects 
Watteau, Lancret, and Chardin, after whom he 
executed several fine works. He also assisted his 
son, Charles Nicolas Cochin, with the plates of the __ 
ceremonies at the marriage of the Dauphin with 
the Infanta of Spain in 1745. Hedied in Parisin 

1754, having engraved about one hundred plates, 
among which are many vignettes for the‘ Virgil’ 
of 1742 and other books. The undermentioned are 
his best works: | PE ESSA 


La Mariée de Village; after Watteau. pies ee 

Décoration du Bal paré; after C. WV. Cochin, fils. 1745. — 

Décoration du Bal masqué ; after the same. 1745. 

Décoration et Dessein du Jeu tenupar le Roy et la 
Reine, 1747; after the same. SRE 

Le Jeu du Pied-de-beeuf ; after De Troy. 

Le Jeu de Colin-Maillard ; after Lancret. 

Fuyez Iris ; after the same. 

L’Amant sans géne ; after the same. 

La Blanchisseuse: La Fontaine ; after Chardin. 

L’Ecureuse: Le Garcon Cabaretier ; after the same. 

The Funeral of the Queen of Sardinia, 1735; after 
Perault and Slodiz. . 


Lovis—E MAGpELEINE HorTEMeE Ls, the wife of 
Cochin, likewise practised engraving. She was 
bornin Paris in 1686, and married in 1713. Among 
the plates which she executed two of the best are 
‘La Charmante Catin’ and ‘Le Chanteur de 
Cantiques,’ which form part of the set of the 
‘Charges des Rues de Paris,’ designed by her son. © 
She also completed his large plate of the ‘ Feu 
d’artifice’ at Rome, which greeted the birth of the 
Dauphin in 1729, and often assisted him in other 
works. She died in Paris in 1767. 

Further details respecting Cochin and his works 
are to be found in MM. Portalis and Béraldi’s 
*“Graveurs du dix-huitiéme siécle,’ i. 492-502. 

R.E.G, 

COCHIN, CuartEs Nicouas, the younger, an 
eminent French line-engraver, and the most cele- 
brated of the artists of this family, was the son 
and pupil of the preceding. He was born in Paris 
in 1715, and produced his first engraving, a ‘St. 
Joseph,’ in 1727, and his first essay in etching, 
‘The Flight into Egypt,’ in 1730. In 1785 ap- 
peared his plate after Pannini of the ‘ Feu d’arti- 
fice’ with which the Cardinal de Polignac cele- 
brated at Rome the birth of the Dauphin in 1729, 
and in 1736 that of the Illumination and Fireworks 
with which the Duke of Orleans entertained the 
Dauphin at Meudon in 1735. These plates, together 
with that of the ‘ Décoration de l’Illumination et 
Feu d’artifice’ at Versailles on the occasion of the 
marriage of Madame Premiere with the Infant Don 
Philip, revealed the talent which Cochin possessed, 
and secured his admission into the Academy in 
1741. Besides engraving, he made many draw- 
ings for vignettes, among which may be noted the 
illustrations to the Abbé Desfontaines’ translation 
of Virgil, published in 1742, to the works of 
Rousseau, 1743, and to those of Boileau, 1746. 
In 1745 the marriage of the Dauphin gave Cochin 
another opportunity for the display of his wonder- 
ful skill in the representation of vast crowds in 
motion, nowhere seen to greater advantage than in 
his famous drawing of the ‘Bal masqué’ at 
Versailles, which is still preserved in the Louvre. 


1 the ‘ Bal paré’ were engraved by his 
_ Not many months elapsed before he was 
ed upon to commemorate the Funeral and 
Interment of the same Spanish Princess, in 1746. 
_ About this time the vignettes engraved by Cochin 
became fewer, for he had become a courtier, and 
_ at the close of 1749 he was chosen to accompany 
to Italy the Marquis of Marigny, the brother of 
Madame de Pompadour. On his return in J751 the 
order of St. Michael was bestowed upon him, and 
he was received as an Academician without having 
executed the usual trial work. In 1752 he suc- 
_ ceeded Coypel as Keeper of the King’s Drawings, 
and in 1758 he published his ‘ Voyage d’Italie.’ 
_ From this time forth Cochin’s labours were devoted 
_ chiefly to works connected with the court, such as 
_ the ‘ Medallic History of the Reign of Louis XV.,’ 
_ the etchings of the Ports of France after Joseph 
_ Vernet, which were completed by Le Bas, and the 
_ © Parade’ and book-plate of Madame de Pompadour, 
whom he assisted in her etchings. In 1764 he 
designed and engraved an allegorical cartouche, 
representing the sun in an eclipse, to contain verses 
by Favart upon the convalescence of the favourite, 
_ but she had a relapse, and died a few days later. 
‘The plate was then suppressed, and proofs from it 
are very rare. He also wrote several works on the 
fine arts. There were, moreover, but few celebrities 
_ of the period in France whose portraits he did not 
draw in pencil or in crayons, with much skilful 
ogy delineation of character, and some of which he 
a himself engraved. Cochin died in Paris in 1790, 
Ae after having exercised for nearly forty years no 
ie inconsiderable influence upon art, for the Marquis 
ta of Marigny seldom took any important step without 
first coming to him for advice, which was always 
_-—~—-—s conscientiously given. 
- tl The ‘ Catalogue de l’uvre de C. N. Cochin fils’ 
'-—s was published by C. A. Jombert in 1780. MM. 
: Portalis and Béraldi have given a full account of 
v. Cochin’s life and works in their ‘ Graveurs du dix- 
t! 


oe huitiéme siécle,’ i. 503-570, and many interesting 

e details of the earlier years of his life are to be found 

Ba in his own ‘ Memoires,’ published by M. Henry in 

| ta 1880. The following are the principal portraits 
___ etched or engraved by him: 


Louis XV. (Schola Martis), an allegory. 1770. 


Hae Louis XV., a medallion in profile. 

ba The Comte de Caylus. 1752. 

te Joachim Gras, Treasurer of France. 1753. 
| The Duke of La Valliére. 1757. 


The Marquis of Vandiéres, afterwards Marquis of 


i 

is Marigny ; two plates. 1752, 1757. 

be Jean Restout, painter. R.EG. 
ae COCHIN, Jacques Nicotas. See TaRDIEUv. 


ie COCHIN, Nicoxas, called the Elder, a French 
be draughtsman and engraver, was the son of a painter 
> __ named Noel Cochin. He was born at Troyes in 
) __ 1610, and about 1635 went to Paris, where he died 
5 ini686. He often imitated and copied Callot, but 
chose for his model De la Belle, some of whose 
| drawings he engraved. Like these two artists he 
excelled in small figures, which he grouped and 
| delineated with life-like animation. His specialty 
| was topography, including battles, sieges, and en- 
campments. He engraved several hundred sub- 
jects, the most important of which are those which 
| he executed for the ‘ Glorieuses Conquétes de Louis 
| le Grand,’ called the ‘Grand Beaulieu,’ published 
between the years 1676 and 1694. The best of 
) these plates is that of the ‘Siege of Arras,’ en- 
i} graved on sixteen plates by Cochin and Frosne. 
! 2 ees 


PAINTERS AND ENGRAVERS. 


t 


Nicolas Cochin is the best of the engravers whom 
Troyes has produced. His drawing is firm, and 
his engraving fine and delicate. His plates are 
marked with his name in full, or with his initials 
only, or with amonogram. M. Corrard de Breban 
has given in his ‘Graveurs Troyens,’ 1868, a list of 
Cochin’s works, among which the following are 
the best : 


The Life of the Virgin ; after Albrecht Diirer ; 18 plates. 

The Marriage in Cana; after Paolo Veronese. 

The Miracle of the Loaves; after Devos. 

The Parable of the Prodigal Son; after Audran; 
4 plates. 

Christ bearing the Cross ; after Callot. 

The Ascension of the Virgin; after the same. 

The Passion ; 12 plates. 

The Conversion of St. Paul. 

The Procession of St. Geneviéve in 1652; extremely 
curious. 

The Entry of Louis XIV. and his Queen into Paris in 
1660 ; an enormous work composed of several plates. 

The Entry of the Queen of Sweden. 1658. 

The Fair of Guibray ; after F. Chauvel. 1658. 

Portrait of Boutmie, the goldsmith; rare and bighly 
esteemed. 

View of Tournay ; after Van der Meulen; 2 sheets. 


COCHIN, Nos., a painter, draughtsman, and 
engraver, born at Troyes in 1622, was the half- 
brother of Nicolas Cochin. He studied painting at 
Rome, devoting his attention especially to land- 
scapes, and was working in Paris in 1667. About 
1670 he went to Venice, and never left that city 
until his death, which took place in 1695. M. 
Corrard de Breban has pointed out in his ‘ Graveurs 
Troyens ’ that there has hitherto been a great con- 
fusion between the engravings of the two brothers, 
owing to their initials having been the same, but 
that they may easily be distinguished by the vast 
difference in talent which exists between them, the 
work of Noel Cochin being below mediocrity. He 
signed his plates sometimes with the initials WN, C., 
sometimes with his name preceded by Noel, Natalis, 
or Noé. Twenty-three of the plates of the‘ Tabule 
selecta et explicate,’ published by Catherine Patin 
at Padua in 1691, are signed with the name of 
Cochin, but with variable initials. Thirteen of 
these, bearing the initials VV. #., are probably the 
work of Nicolas Robert, the son of Noel Cochin. 
The remaining ten are by Noel Cochin, as are also 
the following plates: 

The Marriage in Cana; after Andrea Vicentino; signed 

Natal. Cochin. 
View of Paris; 4 sheets. 1669. 
The Cries of Paris; 8 plates. R.E.G, 


COCHRAN, Witla, born at Strathearn in 
Clydesdale, in 1738, received his first instruction 
at the Academy of Painting at Glasgow, founded 
by the two celebrated printers, Robert and Andrew 
Foulis. About 1761 he went to Italy and studied 
under Gavin Hamilton, and on his return to Glas- 
gow about 1766 he practised portrait painting both 
in oil and miniature. Some pieces from fable, 
executed by him when at Rome, are to be found in 
Glasgow. He was a modest artist, and never ex- 
hibited his works, nor put his name to them. He 
died at Glasgow in 1785, and was buried in the 
cathedral, where a monument was erected to his 
memory. 

COCK, Frans pz. See De Cock. 

COCK, Hisronimus, (or Kock,) a Flemish 

ainter and engraver, was born at Antwerp in 
1510, and died there in 1570. He was admitted 
307 


A BIOGRAPHICAL DICTIONARY 


into the Guild of St. Luke in 1545 as a painter, but 
he soon after abandoned painting, and applied 
himself to engraving and the business of a print- 
seller. In the Belvedere at Vienna, there is a 
painting of an ideal view of Rome by him. 
When at Rome, where he stayed some time, he 
became acquainted with Vasari, whom he assisted 
in the execution of the biographies of the Dutch 
engravers. We have several plates by him after 
his brother Matthys, Peeter Brueghel, Jerom Bosch, 
L. Lombard, and Frans Floris; they are executed 
in a slight manner, and without much effect. H 
sometimes marked zs : , 
his plates H. Cock Wes 
fect ; and some- 
times with this 
device: 

The following are his principal works: 


PORTRAITS AND SUBJECTS FROM HIS OWN DESIGNS. 


SY 


Francis II., King of France and Scotland. 

Mary, Queen of Scotland and France. 

Gustavus, King of Sweden. 

Soliman, Emperor of the Turks. 

Camelia, Daughter of the Emperor. 

Six Portraits on one sheet; of Guido Cavalcanti, Dante, 
Boccaccio, Petrarch, Politian, and Ficinus. 

A set of twenty-four Portraits of Flemish painters, 
with Latin verses by Lampsonius. They are mostly 
marked J. H. W., for Wierix, the publisher; and 
are entitled, Pictorum aliquot celebrium Germania 
infertoris Effigies, §c. 1572. 

The Funeral Pomp of Charles V., large frieze ; Hzeroni- 
mus Cock invent. 1559. 

Twelve Plates; entitled Divi Carol V., ex multis 
precipue Victoriarum imagines. Hieronymus Coccius 
Pictor Antw. 1556. 

Moses with the Tables of the Law; H. Cock 2nv. et exc. 

St. Christopher with the Infant Jesus on his shoulders. 


SUBJECTS AFTER VARIOUS FLEMISH MASTERS. 


A set of fifteen Landscapes ; after Matthys Cock. 

A large Landscape, with the Feast of St. George ; after 
the same. 

Samson and Delilah; after Marten Heemskerk. 

Daniel in the Lions’ Den; after the same. 

A set of eight Female Figures, six from the Old Testa- 
ment, Jael, Ruth, Abigail, Judith, Esther, and Su- 
sannah ; and the Virgin Mary, and Mary Magdalene ; 
after the same. 

An Allegory, Fraud and Avarice; after the same. 

Infant Bacchanalians dancing ; after the same. 

The Resurrection ; after Peeter Brueghel, the elder. 

The Temptation of St. Anthony ; after the same. 

The Temptation of St. James; after the same. 1565. 

The Last Judgment; after the same. 

The Laboratory of an Alchemist; after the same. 

The Dispute between the Fat and the Lean; after the 
same. 

A set of twelve Landscapes with subjects from the 
Bible ; after the same. 

A grotesque subject of the great Fish devouring the 
little ones; a whimsical composition; after Jerom 
Bosch. 

The Temptation of St. Anthony ; after the same. 

St. Martin in a Boat, surrounded by Devils; after the 
same. 

An Incantation ; after the same. 1561. 

Shrove Tuesday ; a Woman making Pancakes. 1567. 


COCK, Jan CLaus DE. See Dr Cock. 

COCK, Marruys, (or Kock), the brother of 
Hieronimus Cock, was born at Antwerp about the 
year 1500 or 1505. He was one of the early 
Flemish painters of landscapes, and one of the first 
of his countrymen who reformed the art from the 
stiff Gothic style that existed before. Several 
of his landscapes were engraved by his brother 

308 


The 
of Babel,’ by him, is y 
He died in 1552. ae 
COCK, Pierer. See Korcnr. a 
COCKBURN, Major-General JAMES PATTISON, 
an officer of the Artillery, who was born in 1778, — 
is known as the author of several books of trav 
which he illustrated: ‘A Voyage to Cadiz a 
Gibraltar,’ with 30 coloured plates, published 
1815; ‘Swiss Scenery,’ with 62 plates, in 1820; 
‘The Route of the Simplon,’ in 1822; ‘The Valley 
of Aosta,’ in 1823; and ‘ Pompeii. Illustrated,’ in 
folio, in 1827. He died at Woolwich in 1847, 
COCKE, Henry, a decorative painter and a pupil 
of Salvator Rosa in Italy, where he spent some ~ 
time when a young man, worked in England about 
the middle of the 17th century. He was employed 
by William III. to repair some of the paintings 
in the Royal Palaces. He painted the choir of — 
New College Chapel, Oxford, and the staircase at 
Ranelagh House. * See Cony ge 
COCKELS, Josepn, a painter of hunting subjects, — 
was born in Brussels in 1786, and died in Bavaria 
in 1851. . ay 
COCKQ, Pau JosePpH DE. See Dz Cockqa. 
COCKSON, THomas, was an English engraver, 
who flourished from about 1610 to 1630. gossgssf 
He engraved several portraits in a neat but 
stiff style. His plates are sometimes marked 
with the cipher : 
We have by him the following portraits, &c. : 


King James I. sitting in Parliament. | 

King Charles I. in like manner. 

The Princess Elizabeth, daughter of James I. 
Louis XIII., King of France. 

Marie de Médicis. 

Matthias, Emperor of Germany. 
Demetrius, Emperor of Russia. 
Henry of Bourbon, Prince of Condé. . 
Concini, Marquis of Ancre. ~ aa 
Charles, Earl of Nottingham. a 
Francis White, Bishop of Norwich. = 
Samuel Daniel. 1609. 

T. Coryat. é 
The Revels of Christendom. 


COCLERS, Jan Baprist, a Dutch painter of 
portraits and historical subjects, was born at 
Maestricht in 1692. He was the son and pupil of 
Philip Coclers, and worked for a time at Rome 
with Servandoni. After his return he established 
himself at Liége, and died, wealthy and honoured, 
in 1762. Some of his works exist at Liége, but 
they possess no great merit. 

His daughter, Maria LAMBERTINE, engraved 
some plates in the style of Adriaan van Ostade. 

COCLERS, Louis BERNARD, was born at Maes- 

tricht in 1740. He was instructed by his father, 
Jan Baptist Coclers. He passed three years in 
Italy, and after his return he painted portraits and 
cabinet pieces, in the manner of Mieris, Metsu, 
and Schalken at Maestricht, Nimeguen, Dordrecht, 
and Leyden, where he settled in 1769. Compro- 
mised politically, he left Holland in 1787, and went 
to Paris, where he remained several years, He 
again returned and resided at Amsterdam, where 
he painted portraits and cabinet pictures, which 
he exhibited from the year 1808 to 1813. One of 
his pictures is in the Museum of that city. 
He died at Liége in 1817. He was also 
a print-seller, and engraved 166 plates; 
they are signed with the ciphers, or his 
initials. 


\ 


) Ke Among his best plates may be mentioned: 


. ie Pre, 

An Old Woman with an Owl; after F. Hails. 
_ A Dutch Gentleman reading and smoking. 

— _COCLERS, Pui, a Dutch painter, who flour- 
ished at Maestricht during the latter part of the 
. “17th century. He studied in Italy, and on his 
____ return to his native land was appointed painter to 

___ Joseph Clement of Bavaria, Prince-Bishop of Liége. 
; He was a skilful portrait painter, and died early in 
the 18th century, at the age of 76. 

— - ~COCX, Gonzatve, (or Coqurs, GoNnzALES,) was 

born at Antwerp in 1614. He received his ele- 
‘mentary instruction from Peeter Brueghel III, as 
__ whose pupil he entered the Guild of St. Luke in 

_ 1627; he then studied under David Ryckaert 
the elder (whose daughter, Catharina, he married 
in 1643), but he owed the fame which he after- 
wards acquired to the excellent disposition with 
__which nature had favoured him. He was made 

_ a master of the Guild in 1640-41; and in 1665-66, 

and again in 1680-81, he was its Dean. In 1671 
the Count de Monterey, Governor-General of the 
Low Countries, appointed him his official painter. 

_ His first subjects were conversations and gallant 

_ assemblies; but the extraordinary reputation Van 
Dyck had acquired by his admirable portraits, 
inspired him with the ambition of distinguishing 
himself in like manner, though on a different 
scale. He painted portraits of a small size, and 
endeavoured to give them the correctness and 
simple character of nature which we admire in the 

b: portraits of Van Dyck. His success was equal to 

| his merit. His single heads, and his groups of 

__.___ family portraits, were esteemed superior to those of 

every artist of his time, Van Dyck alone excepted. 
He was employed by the principal potentates of his 
day, among whom were Charles I., the Archduke 

. Leopold, and the Prince of Orange. To those who 

ba have not seen the pictures of this extraordinary 
artist, it will be difficult to give an idea of the 
beauty of his style. Although his heads rarely 
exceed the length of an inch and a half, they have 
all the breadth, freedom of touch, and animated 

: character of the portraits of Van Dyck. Hence he 

is sometimes called the ‘Little Van Dyck.’ The 

1 @ heads and hands are drawn with the utmost cor- 

rectness ; his colouring has the freshness, and his 

; draperies the ease, that we admire in the works of 
that master. In regarding them, we lose sight of 
| the scale on which they are drawn, and they assume 
FE the size of life. He was peculiarly happy in the 
composition and arrangement of his family groups, 
and the accessories which accompany them. Cocx 
died at Antwerp in 1684. His compositions are 
few in number, and are extremely valuable: there 
are but 46 described in Smith’s ‘ Catalogue raisonné,’ 
vol. 4 and Suppl. It is supposed that as he was 
wealthy, he painted more for pleasure than for 
profit; but of this there is no proof. He painted 
landscapes skilfully, and dogs and other animals 
with much success. Among his principal works 


- " ' = Te. Ee a 2 4 
= em coer . - ila oe 
Ais i eal TO SRT 
— 1 cates ; dint as fetes a, 
> + 


ae 1 
x 


hs ca 


are: 

Antwerp. Museum. Portrait of a Lady. 
Berlin. Museum. Portrait of Cornelis de Bie, the 
i writer on art. 
| Cassel. Gallery. Philosopher and his Wife. 1640. 


me Family group. 
Darmstadt. Gallery. Portrait of a Man. 
tl os Portrait of a Lady. 
Dresden. Gallery. Family Portrait. 
Hague, Gallery. Interior of a Picture Gallery. 
(The figures and accessories are 


2. eles PAINTERS AND ENGRAVERS. 


by Cocx. The paintings, forty- 
Sour in number, are by contem- 
sorey artists, several of whom 
- ave signed their work.) 


| London. Nat. Gal. Family Portraits. (Party in a 


garden.) 
a a Portrait of a Lady. 
Paris. Louvre. The Artist and his Family. 


Petersburg. Hermitage. Portrait of a Man. 


COCXIE, Micuren van. See Coxir. 

CODA, Bartrotommro, (or Copi,) flourished 
about the year 1543, He was called Da Rimin1, 
as was also his elder brother FRANCESCO, who 
painted in 1533. He was instructed in the art 
by his father, Benedetto, whom he surpassed. In 
the church of San Rocco at Pesaro, is a fine picture 
by this master, bearing the above date; which 
Lanzi says in every respect bears the character of 
the golden age of the art. It represents the Virgin 
and Infant enthroned, with a Choir of beautiful 
Cherubs, and with St. Roch and St. Sebastian. 

CODA, BENEDETTO, (or CoDI,) was a native of 
Ferrara, born about the year 1460, and was a dis- 
ciple of Giovanni Bellini. According to Lanzi he 
resided chiefly at Rimini, where he painted some 
pictures for the churches, which prove him to have 
been an able artist. His principal works are, the 
‘Marriage of the Virgin with St. Joseph,’ in the 
cathedral at Rimini; and the ‘Rosary,’ in the church 
of the Dominicans. He died about the year 1520. 

CODAGORA. See Vivi1AnI, ANTONIO. 

CODDE, Lucas, (CoppEN, or CoppEMAN,) of 
Antwerp, is mentioned as designing some cartoons 
for glass-painting in the church of St. Catharine, 
at Breda; anda portrait by him of Philip the Good, 
Duke of Burgundy, bears the inscription ‘ oud 42 
jaren.’ If this date refers to the Duke, the picture 
must have been painted about 1438. Codde is 
mentioned as a painter as early as 1426; and 
his name is the second inscribed in the register of 
the Guild of St. Luke, of which he was a master 
in 1453, and dean in 1455, 1457, 1460, and 1464. 
He died in 1469. He belonged to a family of 
artists ; his brother Jan is mentioned as a carver 
in 1450; another brother, Willem, was a sculptor ; 
and a brother-in-law, Willem Coeman, was a painter. 

CODDE, Pierre, the son of Marten Codde, was 
born in 1610, married in 1637 at Amsterdam, and 
was probably dead in 1666. He executed genre 
pictures in the style of Palamedes, His paintings 
are distinguished for the liveliness of their com- 
position and the fineness of their colouring. He 
painted figures in Dirk van Delen’s interiors, 
KARrEL Copp, who was a native of the Hague, and 
died in 1698, was probably his son. He imitated 
the manner of Both and Berchem, and painted his 
figures in the style of Terburg with much taste 
and finish. Pieter Codde’s best works are: 


Berlin. auseum. Preparation for the Carnival. 
Dorpat. Sivers Coll, The Dancing Lesson. 16-7. 
Hague. Gallery. The Ball. 1636, 


gk ae Backgammon Players. 
Vienna. Gsell Coll. The Evening Party. 1633. 
“f Ff Soldiers playing at Dice. 


CODE, Mary. See BENWELL, 

CODI. See Copa. 

CODORE, Ouivier, a French engraver, was the 
author of the plates which accompanied the ‘ Entrée 
de Charles IX. a Paris,’ 1572, They are executed 
with much facility, but display no great artistic 
talent. 

COECK, Pirtrr. See Korcx. 

COELENBIER, Jan, a Dutch landscape painter 

309 


who flourished in the 17th century, was a native 
of Utrecht. He became a pupil of Van Goyen, 
whose works he imitated so closely that they passed 
for the originals. He was received into the Guild 
of St. Luke at Haarlem in 1632, and was still 
living in 1671. 

COELLO, ALonso SancHEz. See SANCHEZ COELLO. 

COELLO, CLAUDIO, was of Portuguese parents, 
but was born at Madrid about 1621.- He was there 
instructed in the art by Francisco Rizi, and executed 
while yet in that school an altar-piece for San 
Placido at Madrid. His acquaintance with the 
court painter, Juan Carefio, procured him the per- 
mission to visit the royal collection, where he 
made his greatest advance by studying the works 
of Titian, Rubens, and Van Dyck. His friendship 
with Josef Donoso, under whom he studied at 
Rome, was not less advantageous for him. In con- 
junction with that artist he painted frescoes at 
Madrid and Toledo, and executed the Triumphal 
Arch for the entrance of the Queen, Maria Louisa 
of Orleans. By these paintings he became well 
known, and was employed by the Archbishop of 
Saragossa in 1683. He was made painter to Phili 
IV., by whom he was employed in the Escorial. 


Coello never travelled out of Spain, and his extra-' 


ordinary talents are only known in that country. 
He was the last Spanish painter of eminence, as 
from the time that Luca Giordano was summoned 
to Spain, the art sank gradually to its decay. 
Many excellent specimens of his ability are to be 
seen in the churches and convents at Madrid, 
Saragossa, and Salamanca. But his principal work 
is the famous altar-piece in the sacristy of San 
Lorenzo, in the Escorial, representing the ‘ Adora- 
tion of the Miraculous Host.’ It is an immense 
composition, and occupied the painter seven years. 
In the crowd of personages that form the pro- 
f cession, are no less than fifty portraits, including 
those of the king and the principal persons of the 
court ; it is painted with the utmost precision, yet 
in a bold and masterly style, and there is a majes- 
tic solemnity in the arrangement of the whole, 
which suits well to the grandeur of the subject. 
It is a very extraordinary performance, and holds 
its place even by the side of the works of Titian 
and Rubens. ‘The preference which was given to 
Luca Giordano, who came to Madrid in 1692, in 
painting the grand staircase in the Eseorial, morti- 
fied Coello so much that he died of vexation at 
Madrid in 1693. 

Coello etched three plates, viz. :—‘ Christ on the 
Cross, with the Virgin, St. See and S&t. 
Monica,’ and the portraits of Charles II. and his 
Mother. He was the instructor of Sebastian Mufioz 
and Teodoro Ardmans. 

The following is a list of his best paintings : 


Buda-Pesth. Gallery. St. Joseph with the Virgin and 
Child. 


Madrid. S. Placido. An altar-piece. 

- Palace. Cartoons, representing the Fable 
of Cupid and Psyche, painted 
by Ant. Palomino. 

= Museum. Assumption of the Virgin. (Tvwo.) 

‘: . Portrait of Charles II. of Spain. 

* St. Rosa of Lima. 

3 ee The Apotheosis of St. Augustin. 

Munich. Gallery. St. Peter of Alcantara. 


Petersburg. Hermitage. His own Portrait. 
M The Magdalen. 

Saragossa. Augustinian 

Church. 

Escorial, 


The frescoes in the cupola. 


The Adoration of the Host. (His 
chef-d’aeuvre.) 


Toledo. 
310 


COELMANS, cae a Flemish s engraver, bo 


Antwerp about the year 1670. He was a pupil of © 
Cornelis Vermeulen. After engraving some plates 
oyer 
d’Aguilles to undertake the plates for the pictures ee a 
They consisted of one hundred 
and eighteen prints, and form the principal works 
of this artist, of which the following are the most 


in his native city, he was engaged by 


of his collection. 


esteemed : 


PORTRAITS. 
Olympia Maldachini, niece of meta X.; after Giu- 


seppe Cesarz. 
Paolo Veronese, a Bust ; after a icture by himself. 
Vincent Boyer, seigneur dAguilles ; after Le Grand. 


Jean Baptiste Boyer ; after Hyacinthe Rigaud. 
SUBJECTS AFTER VARIOUS MASTERS. 


The Holy Family, with St. John embracing the Infant 


Jesus; after Parmigiano. 


The Meeting of Jacob and Rachel ; after een 


da Caravaggio. 

Laban giving Rachel to Jacob; after the same. 

Jacob’s Departure from Laban ; after B. Castiglione. 

A Company of Musicians, Dancers, &c.; after the same. 

Diana and Actzon ; after Otto van Veen. 

A Satyr drinking, with a Nymph and a Cupid; after 
WV. Poussin. 

The Martyrdom of St. Bartholomew; after S. Bourdon. 

Mount Parnassus, with Minerva and Mercury ; ; after Le 
Sueur. 

The Flight into Egypt; after Pujet. 

The Murder of the Innocents ; after Claude Spierre. 

The Head of the Virgin; after Seb. Barras. 


COLN. See Kory. 
COENE, Constantinus Fipenio, a painter of 


history, genre, and landscape, was born i in 1780 at | 


Vilvoorden. He first studied under Hendrik van 
Assche, and in 1809 removed to Amsterdam and 
became the pupil of Barbiers. _He then went to 
Brussels, and in 1820 was made Professor at the 
Academy. His picture of ‘ Rubens receiving from 
Charles I. the sword with which he had been 
knighted’ gained for him the grand prize at Ghent, 

and is now in the Museum of that city. His ‘ Soldier 
returning from the Battle of Waterloo’ also gained 
him much praise. He died at Brussels in 1841, 

COENE, JEAN Henri pe. See Dz Corns. 

COENRADT, Lawzmrs, who flourished about the 
year 1690, engraved some of the portraits for the 
collection of Cardinals published by Rossi. They 
are very indifferent performances. | 

COENTGEN, Grora@ JOSEPH, a painter and en- 
graver, was born in 1752 at Mayence. He was a 
pupil of his father, the engraver Heinrich Hugo 
Céntgen, but removed in 1776 to Frankfort-on- 
the-Main, where he painted and etched portraits 
and views of local events, and founded a Drawing 
Institution which still exists, and at which his wife, 
the flower painter Elisabetha Mund (who was born 
in 1752, married in 1776, and died in 1783), im- 
parted instruction. He died at that city in 1799. 

COFFRE, Benoit, a French painter, who in 
1692 gained the ‘prix de Rome,’ the subject being 
“Abraham sending away Hagar and Ishmael,’ He 
went to Denmark, where he painted the ceilings of 
the castle of Fredriksborg between the years 1709 
and 1717. 

COGELS, JosrpH CHARLES, (sometimes called 
CocELs MABILDE,) a landscape and marine painter, 
was born at Brussels in 1786. He studied at the 
Academy of Diisseldorf ; and, after spending some - 
time in France, returned to Belgium in 1806, and 
was admitted a member of the Royal Society of 


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He etched also several plates, partly after J. 
Both, partly from his own designs. In 1817 he 
was made a member of the Academy at Antwerp. 
He, however, established himself at Munich, and 
was an honorary member of the Academy there. 
He died in 1831, at the Castle of Leitheim near 
Donauwéorth. 

COGET, Jozzr ANTOON, was an engraver, probably 


a Fleming, who lived about the year 1650. Le 


Blanc calls him in error Cochet. By him we have: 
Time crowning Industry and punishing Idleness ; after 

Depcceart of David Beck, the painter; after himecl} 
COGHETTI, Francesco, was born at Bergamo 


In 1804, and instructed in painting by Diotti di 


Casalmaggiore. He went afterwards to Rome, 
where he became a disciple of Camuccini, and 
studied the works of Raphael. He presided for 
many years over the Academy of San Luca at 
Rome, and was the representative of classic art in 
the early part of the 19th century. He died at 
Rome in 1875. His best works are as under: 


Bergamo. Gallery. Two Altar-pieces. 
“es Sha emey Several frescoes. 
a Cathedral, Frescoes (tn the cupola). 
Rome. Villa Torlonia. Scenes from the Life of Alex- 
ander. 
The Four Elements. 


3 ” 
”? ”? 


The Triumph of Bacchus. 
The Battle of the Amazons. 


Porto Maurizio. Church. The Assumption. 


Savona. Cathedral. The Martyrdom. 

COGNIET, Lkon, was born in Paris in 1794, and 
studied art under Guérin. In 1817 he obtained the 
first ‘grand prix de Rome,’ and painted for some 
time in that city. He then settled in Paris, and 
devoted himself to teaching, and to the production 
of historical works, which earned for him much 
praise mingled with a certain amount of adverse 
criticism. He was appointed Professor of Drawing 
in the Lyceum of Louis le Grand and in the Poly- 
technic School. He died in Paris in 1880, having 
been a member of the ‘ Académie des Beaux-Arts’ 
since 1849. The following are his principal works: 


Metabus, King of the Volscians, expelled by his subjects | 


(painted in Rome in 1822). 

Marius in the Ruins of Carthage. 1824. a 

Numa (burned, in the Palace of the Conseil d’Etat, 
during the Commune). 

The Massacre of the Innocents. 1824. 

The Charity of St. Stephen (¢n the Church of St. Nicolas- 
des-Champs, Paris). 

The National Guard marching to join the army in 1792 
(at Versarlles). 1836. 

The Battle of Rivoli (at Versazlles). 

The Battle of Limburg (at Versailles). 

An Angel announcing the Resurrection to the Magdalen 
(tn the Madeleine, Paris). 

A Scene at the Barricades. 1830. 

Tintoretto painting his dead Daughter (in the Bordeaux 
Museum). One of his best works. 1845. 


In addition to the above, he executed, among 
other portraits, those of Marshal Maison, Louis 
Philippe in his youth, and the painter Guérin, and 


Tee = 
ts 


PAINTERS AND ENGRAVERS. 


also painted at Versailles, in conjunction with 
Philippoteaux, Karl Girardet, Vignon, Guyon, and 
other artists, episodes in the campaign of Egypt. 

COGNIET, Mariz AMELIE, who was born in 
Paris in 1798, studied under her brother, Léon 
Cogniet, and exhibited from 1831 to 1843. She 
painted genre subjects and portraits, and died in 
Paris in 1869. The Lille Museum contains an 
‘Interior of a Studio’ by her. 

COIGNARD, &., was a French engraver of little 
note, who worked in London during the early part 
of the 18th century, chiefly after Kneller. He has 
left us some indifferent portraits, amongst which 
are the following : 

John Dryden. 

Sir Christopher Wren. 

George Parker, astrologer. 

COIGNET, Gituis. See Conenert, 

COIGNET, Jutes Louis Puiipps, a landscape 
painter, was born in Paris in 1798, and who 
studied under Bertin. He travelled a good deal in 


his own country as well as in Italy and the East, 


and produced a considerable number of views. He 
holds a middle place between the Idealists and the 
Realists, and his work is remarkable for the com- 
bination of vigour and delicacy in the effects of 
light and shade, for poetical feeling, for a firm 
brush, and occasionally for grandeur of conception. 
His chef-d’euvre is ‘The Ruins of the Temple 
of Pestum,’ now inthe New Pinacothek at Munich. 
In addition to producing many water-colours and 
chalk-drawings, he wrote a book on landscape 
painting, and published in 1825 a series of sixty 
Italian views. He died in Paris in 1860. 

COINY, Jacques JosEPH, a French line-engraver, 
was born at Versailles in 1761. He was a pupil of 
Suvée and of Philippe Le Bas, and in 1788 went 
to Rome, where he stayed three years. He en- 
graved for the government the‘ Battle of Marengo,’ 
after the large picture of Lejeune, exhibited in 
1806; but his fame rests chiefly on the plates 
which he executed after Lefévre for the ‘ Lettres 
d’une Péruvienne’ and for ‘ Manon Lescaut’ in the 
‘Collection Bleuet.’ Coiny died in Paris in 1809. 

COINY, Josep, a French line-engraver, was the 
son of Jacques Joseph Coiny. He was bornin Paris 
in 1795, and studied under his father, Gounod, and 
Bervic. He engraved the ‘ Creation of Eve’ after 
Michelangelo, Dante Alighieri after Raphael, and 
the portraits of Michallon after L. Cogniet, and of 
Raphael from the picture in the Florence Gallery. 
He died in Paris in 1829. 

COLA, GENNARO DI, an old Neapolitan painter, 
was born in 1320, He was the disciple of Maestro Si- 
mone, a friend and companion of Giotto, and painted 
in his style. The principal works remaining of 
this ancient artist are, the altar-piece in the church 
of Santa Maria della Pieta, representing the Mater 
Dolorosa with the dead Christ, and Angels holding 
the Instruments of the Passion; and in a chapel 
of the same church, a ‘ Penitent Magdalen.’ In the 
tribune of San Giovanni a Carbonara, the ‘ Annunci- 
ation’ and the ‘Nativity.’ In the Chapel of the 
Crucified in Sant’ Incoronata, at Naples, a ‘Corona- 
tion of the Queen Johanna and Louis of Tarento,’ 
a weak composition. In the Museum of that city 
is a ‘Conception,’ in the manner of a miniature 
painting. It is distinguished for its warm colour- 
ing. Many other works by this painter are men- 
tioned by Dominici. His style, like that of the 
painters of his time, is laboured and dry, but not 
without expression, He died in 1370. 

311 


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A BIOGRAPHICAL DICTIONARY OF : Oa 
COLANDON, D., was a landscape painter who { 1868 he removed to No. 8, Victoria Road, Kensing-" _ 


also etched. He is supposed to have been the 
same person as Collandon who was born at Cannes, 
and was established in Paris in 1670. He studied 
under P. F. Mola, his work being for the most part 
in the style of Genoels. Two plates are known 
signed with the name D, Colandon. One represents 
a mountain landscape with two women seated, one 
of whom is holding a child; and the other is a 
landscape with a stream introduced, on the right 
bank of which is a woman with an infant. 

COLANTONIO pet FIORI. See Tomasi, Nic. 

COLAS, AurHonss, a French historical and por- 
trait painter, was born at Lille in 1818, and studied 
under Souchon at the school of his native town. 
He first attracted attention by a large canvas at 
the Salon of 1849, representing the ‘ Raising of the 
Cross.’ He was much employed as a decorative 
painter in French churches, a good specimen of his 
work in this genre being his paintings in grisaille 
in the cupola of the Eglise de Notre Dame at 
Roubaix. He held the post of director of the art 
school of Lille, where he died in 1887. His por- 
trait of Souckon is in the Lille Museum. 

COLBENSCHLAG, SrerHen, (or COLBENIUS,) 
was a German engraver, who flourished about the 
year 1610. Brulliot says he was born at Salzburg 
in 1591; and Nagler, that he died at the age of 92. 
He resided principally at Rome, where he engraved 
several plates from the works of the Italian painters: 
among others are the following : 


The Adoration of the Shepherds; after Domenichino. 
The Taking down from the Cross ; after Annib. Carracct. 


COLCHESTER, WAtLTER or. See WALTER. 
COLE, B., an engraver of portraits, worked in 
England in the early part of the 18th century. 
COLE, GEoRGE, painter, was born in 1808. He 
was entirely self-taught, and began life at Ports- 
mouth as a painter of portraits and animals, He 
finally, however, devoted himself to landscape, and 
settled in London. He first exhibited in 1840, and 
was afterwards a pretty constant contributor to 
the Old British Institution, and, later, to the Suffolk 
Street Exhibitions. He died September 7, 1883. 
COLE, Grorce Vicat, R.A., was born at Ports- 
mouth April 17, 1833, and died at Campden Hill 
House, Kensington, on April 16, 1893. His father 
was a successful artist, and in his studio Vicat 
Cole worked during his early years, making copies 
of works by Turner, Constable, and Cox. The most 
important part ofhis art education, however, was that 
which he obtained by sketching from nature during 
the summer months, still under his father’s direction, 
both in England and abroad, and so effective was 
this, that in 1852, at the age of nineteen, he secured 
admission to the now extinct British Institution 
with a picture of ‘Ranmore Common,’ and to the 
Society of British Artists in Suffolk Street with 
drawings of the Wye and Teign, while in the 
following year he was represented for the first 
time at the Royal Academy by two _ pictures, 
‘Kloster Marienburg’ and ‘A Sunny View.’ In 
spite of these youthful successes his early years were 
not without their healthy struggles with difficulties, 
and he was well content often to dispose of his 
works for quite insignificant sums. In 1859 he 
was elected a member of the Royal Society of 
British Artists, and in 1860 he was awarded a silver 
medal by the Society for the Encouragement of the 
Fine Arts for a painting entitled ‘ Harvest Time,’ 
He was then residing at Abinger in Surrey, but in 
312 


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ton, and his reputation was so well established that 


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in January 1870 he was elected an Associate of the 


Royal Academy, which was followed ten years later’ 
by his promotion to the full Academicianship. No — 


less than three of the works which finally assured 


his claim to this distinction were renderings of the 


Thames, ‘A Thames Backwater,’ ‘The Mist of 7 ; 


the Morning, Sonning,’ and ‘The Silver Thames, 


near Medmenham,’ and thenceforward he devoted ~ 4 


himself almost exclusively to the depicting of that 
river, with the intention of recording its most 
salient beauties from the source to the sea. Thus 


in 1881 he exhibited ‘Streatley’ and ‘Wargrave’;in _ 


1882 ‘The Sources of the Thames’ and ‘ Abing- 
don’; in 1883 ‘ Windsor Castle’; in 1884 ‘Oxford 
from Iffley,’ ‘Iffley Mill,’ ‘Mapledurham Lock,’ 
and ‘Bisham’; in 1885 ‘Sinodun Hill from Day’s 
Lock’; in 1886 ‘ Cornfields at Gatehampton, ‘ The 
Thames at Hartswood,’ ‘ Pangbourne,’ ‘Cookham,’ 
‘Great Marlow’; in 1887 ‘Streatley from near 
Cleve Lock’; in 1888 ‘The Pool of London,” 
‘Cornfields at Goring,’ and ‘A Thames Backwater’; 
in 1890 ‘Greenwich’ and ‘The Meeting of the 
Thames and the Isis at Dorchester’ ; and in 1892 
‘ Westminster’ formed his last exhibit at the Royal 
Academy, though ‘Windsor Castle from a Back- 
water’ was his last completed picture, ‘ Gravesend’ 
and ‘ The Nore’ being left unfinished at his death. 
He was typically a lover and painter of English 
landscapes, and his work was characterized by a 
straightforward directness of technique, a delicate 
sense of colour, a keen eye for the picturesque, and 
a close if not very inspired observation of nature, | 


M:B. | 
COLE, Humpxrey, a goldsmith and engraver 


connected with the Mint in the Tower, was born 
about the year 1530 in the north of England. 
He engraved the Map of Canaan for the second 
edition of the Bishops’ Bible, published in 1572, 
and is said by Horace Walpole to have also en- 
graved the titlepage containing the portrait of 


Queen Elizabeth, as well as those of the Earl of — 


Leicester and Lord Burghley, for the first edition 
of the same Bible, issued in 1568, but these are so 
far superior to the map in execution as to render 
the statement extremely doubtful. 

COLE, Joun, an English engraver, flourished 
about the year 1720. He was much employed by 
the booksellers, for whom he engraved some por- 
traits and other book-plates; among which is a 
head of James Puckle, prefixed to his dialogue 
called ‘The Club.’ He also engraved several plates 
of monuments, and a copy from the print by Martin 
Rota, representing the ‘Last Judgment,’ after 
Michelangelo. 7 

COLE, PETER, practised as a portrait painter in 
the reign of Elizabeth. He was for some time 
Director of the Mint. He is thought to have been 
a brother of Humphrey Cole. 

COLE, Sir Raupx, Bart., was an amateur who 
studied under Van Dyck. The date of his birth 
is not known, but he succeeded to the baronetcy in 
1640, and died in 1704. There is at Petworth a 
portrait of Thomas Wyndham painted by him, which 
has been mezzotinted by R. Tompson. 

COLE, THomas, the landscape painter, was born 
at Bolton-le-Moors, Lancashire, in 1801. His father 
emigrated whilst his son was only eighteen years 
of age, in the hope of bettering his fortunes, and 
established a paper-hanging manufactory at Steu- 
benville in Ohio, and it was while assisting in this 


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Re buses that the son learnt the rudiments of his 


art. At length a portrait-painter visited the place 


_ where he lived, whose works so awakened Cole’s 


dormant spirit that he left his home suddenly to 


_ follow out the object he had so much atheart. Amid 
_ _Inany difficulties and much privation, he found his 
way to Philadelphia, and thence to New York, 
_ where he set up his easel in a garret, His talents 
soon introduced him to the notice of Trumbull and 


other older brother artists, and likewise to some 


_ wealthy patrons ; from the former he received pro- 


fessional advice and assistance, and from the latter 
more substantial encouragement. He subsequently 


visited Italy and England, and finally settled down. 


in the land which his parents had adopted. He 
was long known as one of the best landscape paint- 
ers in the States ; we-also find his name in the cata- 
logues of our Royal Academy, he having exhibited 
Hampshire, 
United States,’ and the ‘Tomb of General Brock, 
Lake Ontario, in Upper Canada;’ and in 1831 a 
‘View in the United States.’ He died in 1848, 


at his residence near the town of Catskill, on the 


banks of the Hudson. Of Cole’s works, the New 
York Historical Society possesses the ‘Course of 
Empire’ (five landscape scenes), his master-piece. 
His ‘ Voyage of Life’ was formerly in the Taylor- 


_ Johnston Collection at New York. The ‘ Mountain 
_ Ford’ and ‘ Kenilworth Castle’ were exhibited 


at Philadelphia in 1876. Cole was the first good 
landscape painter in America. 

COLEMAN, Epwarp, of Birmingham, painted 
still-life subjects. He exhibited at the Royal 
Academy in 1819, 1820, and 1822, 

_ COLEMAN, Wiiam, was one of the early 
wood-engravers. He died in London in 1807. 

COLEYER, Everr, (or Contr, or CoLYNER,) a 
Dutch painter of still-life and interiors, who was a 
native of Leyden, flourished from 1673 to 1691. 
He was dead in 1702. Some of his works are 
mentioned in the catalogues of Hoet and Terwesten. 

COLIBERT, Nicouas, a French painter and en- 
graver, was born in Paris in 1750. He executed in 
the dotted style some landscapes after Casanova, 
and about 1782 came to London, where he pro- 
duced two oval plates of ‘Pity’ and ‘Youth,’ and 
two subjects from ‘ Evelina.’ During the Revolution 
he returned to Paris and engraved several of 
Schall’s designs for ‘Les Amours de Psyché et de 
Cupidon,’ published in 1791, and some illustrations 
after Monsiau to the poem ‘La Mort d’Abel,’ pub- 
lished in 1793. Colibert died in London in 1806. 

COLIEZ, Aprizn Norbert JosepH, a French 
landscape painter, was born at Valenciennes in 
1754, and died in the same town in 1824. He also 
painted scenery and views of towns. 

COLIGNON, Frangois, a French designer and 
engraver, was born at Nancy about the year 1621. 
He was a pupil of Callot, and studied the works of 
Della Bella and Silvestre. He engraved some of 
the plates of the towns conquered in the reign of 
Louis XIV., published by Beaulieu. We have also 
several plates from different masters, and from his 
own designs. His best works are views of build- 
ings, with small figures, in the style of Callot, 
which he executed with great spirit and freedom. 
We have by him, among others, the following 
prints : 

_ SUBJECTS FROM HIS OWN DESIGNS. 

A set of twelve Landscapes. 

The Buildings at Rome under Sixtus V. 

A View of Malta with its ancient Fortifications, 


PAINTERS AND ENGRAVERS. 


SUBJECTS AFTER OTHER MASTERS, 

The Flight of Attila; after Raphael. 

The five canonized Saints, St. Gaetano, St. Francis 
Borgia, St. Philip Benizio, St. Bertrand, and St. Rosa ; 
after J. B. Gaetano. 

View of Florence ; after S. della Bella. 

Plan of the Castle of Moyen ; after Callot. 

COLIN, a French historical painter and engineer, 
who became painter to the Duke of Burgundy in 
1420. He was an artist in every acceptation of 
the term, and executed at the castle of Hesdin 
many undertakings in painting and architecture, as 
well as curious hydraulic works, 

COLIN, of Amiens, a French portrait painter, who 
flourished in 1482, was commissioned to paint the 
portrait of Louis XI. His praises were sung by 
the poets of his time. 

COLIN, ADRIAAN VAN, a Dutch painter of the 
17th century, painted poultry in the manner of 
D’Hondecoeter. 

COLIN, ALEexanpre Marts, a French painter 
of historical and genre subjects, was born in Paris 
in 1798. He was a pupil of Girodet. His religious 
and historical paintings are characterised by a 
style based on a careful study of the old masters, 
while his genre pieces are vigorous and life-like. 
Amongst these latter may be noticed his ‘ French 
Fish-Market’ (1832) in the Berlin Gallery, and his 
‘Gipsies Resting.’ Amongst the former may be 
named a ‘Christopher Columbus,’ a ‘ Flight into 
Egypt,’ and an ‘Assumption of the Virgin,’ He 
died in 1875. 

COLIN, Francois, who was born at Bordeaux in 
1798, studied under Lacour, the elder, and died in 
his native city in 1864. The Bordeaux Museum 
has two works by him—a ‘ Fountain of Love’ and 
‘Crispin Messager.’ 

COLIN, JEAN, a French line-engraver, who flour- 
ished in the latter half of the 17th century. He 
was a native of Rheims, but the dates of his birth 
and death are unknown. He engraved an ‘ As- 
sumption’ after A. Carracci, an equestrian portrait 
of Louis XIV. crowned by Victory, and having at 
his feet a map of Holland, and several other por- 
traits which bear date from 1665 to 1688. Some 
of his plates are signed, Collin. 

COLLADO, Juan, a Spanish painter, was a native 
of Valencia,and ascholar of Richarte. He painted 
in fresco the dome of the chapel of St. Francis 
Xavier in the Jesuits’ church, and its lateral altar- 
pieces in oil; and also executed various works for 
the parish church of Santa Catalina, and other 
churches of his native city. He died at Valencia 
in 1767. 

COLLAERT, ApriaeEn, a Flemish designer and 
engraver, was born at Antwerp, but in what year is 
not known. After having learnt the principles of 
the art in his own country, he visited Italy for 
improvement, where he passed some years. On 
his return to Flanders, he engraved a great number 
of plates, executed in a neatly finished style, but 
with a certain degree of dryness. He died at 
Antwerp in 1618, His drawing is correct, and his 
heads expressive. He sometimes marked his plates 


with the cipher FA: 
The following are his principal productions : 


SUBJECTS FROM HIS OWN DESIGNS. 


A Man and his Wife, conducted by Death. 1562. — 

A Man in Armour, to whom a Woman brings a Child, 
a Dog, and a Cock. 

The Four Elements ; in four plates. 


313 


The Life of Jesus Christ ; in thirty-six plates. 

Thirty plates of Birds. 

One hundred and twenty-five plates of Fishes. 

Twenty-four plates; entitled Florilegium ab Hadriano 
Collaert celatum, &c. 

The Temptation of St. Anthony. 

St. Apollonia. 


SUBJECTS AFTER VARIOUS MASTERS. 


The Twelve Months of the Year; after Josse De 
Momper ; the same that Callot has engraved. 

The Last Judgment ; after J. Stradan. . 

St. Hubert; after the same. 

Twelve plates of Horses; after the same. 

A Hunting and Fishing Party ; after the same. 

The Israelitish Women singing the Song of Praise for 
the Destruction of the Egyptian Host in the Red 
Sea; after the same. - 

A Woman saving her Child from a Lion ; after the same. 

Twelve Landscapes ; after Hendrik van Cleef. 

A set of Hermitesses ; after 1. de Vos; engraved con- 
jointly with his son Hans Collaert. 

The Calling of St. Andrew to the Apostleship ; after 
Barocct. 

The Repose in Egypt; after H. Goltzius. 1585. 

A set of six plates, called the Annunciations ; considered 
among the best of his works. 


COLLAERT, Hans or Jan, the son of Adriaen 
Collaert, was born at Antwerp about 1540. After 
being instructed by his father for a while, he fol- 
lowed his example in visiting Italy, where he 
passed some time. He assisted his father in many 
of his works, and engraved a great number of 
plates, dated from 1555 to 1622, which are executed 
in the style of Adriaen, but with more taste and 
less stiffness. He died at Antwerp in 1628. He 
sometimes signed his plates with his name Hans 
Collaert fecit, sometimes with the initials H.C. f., 


and sometimes with the cipher ten. 


The following are his prints most worthy of 
notice : 


SUBJECTS AFTER HIS OWN DESIGNS. 


The Life of St. Francis ; in sixteen plates, with grotesque 
borders. 

The Dead Christ in the Lap of the Virgin. 

The Last Judgment, surrounded with small subjects of 
the Life of Christ. 


Peace. 

Charity. 

Ten plates; entitled Monilium Bullarum tnauriumque 
Icones. 1581. 


SUBJECTS AFTER VARIOUS MASTERS. 


St. John preaching in the Wilderness; G.A. Z. inv. 

Moses striking the Rock ; after Lambert Lombard ; very 
fine. 

Marcus Curtius throwing himself into the Gulf; after 
the same. 

A Satyr pursued by Women; after J. Stradan. 

Time and Truth; after the same; very fine. 

Mars and Venus ; after the same. 

The Loves of Mars and Venus; four plates; after P. 
Galle. 

The Title to the Biblia Sacra; after Rubens ; fine. 

The Title to the Kerkelyke Historie; after the same; 
fine. 

The Title to the Heylige Vaders Boeck ; after the same ; 


e. 
ineaiys plates for a ‘ Missal ;’ after the designs of Rubens. 
The subjects are taken from the Lives of Christ and 
the Virgin. 
COLLANDON, D. See CoLanpon. 
COLLANTES, Francisco, a Spanish painter, was 
born at Madrid in 1599. He was instructed by 
Vicente Carducci and painted figures, animals, 
landscapes, fruit, and flower-pieces, and often 
united historical subjects with landscapes. His 
314 


works are executed in a bold « 


in the style of Rubens, richly col 
very romantic scenery. Of his historic 
principal are ‘St. Jerome,’ and a picture 
Resurrection, in the Buen Retiro, He 
Madrid in 1656. There are by him: 


Copenhagen. Museum. St. Jerome. gyre: 
Gallery. The Vision of Ezekiel, 


Madrid. or 

¥ » St. William of Aquitaine. 

is “i Landscapes (two), | 

Rad ‘ The Burning of Troy. = = 
Munich. Pinakothek. Landscape. ee j 
Paris. Louvre. Jehovah appearing to Moses in 


Burning Bush. ’ ‘ 
Petersburg. Hermitage. St. John the Baptist. = 


> ea 


COLLAS, AcHILLE, a French mechanician, w: 
born in Paris in 1795. He was the inventor of the __ 
process of engraving in imitation of bas-reliefs 
and: cameos which is known by his name. His 
principal work is the ‘ Trésor de Numismatique et 
de Glyptique,’ 22 volumes in folio, published in 
1834-1850. He died in Paris in 1859, eel at 

COLLE, RAFFAELLINO DAL. See Dau CoLLE. 

COLLEONI, Grrotamo, was a native of Bergamo, 
born, according to Tassi, about the end of the 
15th century. Most of the works of this able 
artist, in his own country, were formerly in the © 
church of Sant’ Antonio dell’ Ospitale at Bergamo, — 
but were destroyed at the time the church was re- — 
built. In the church dedicated to St. Erasmo, at __ 
San Borgo Canale near Bergamo, is preserved one 
of his most esteemed works, painted in 1538. This — 
picture is described by Tassi as one of the most 
admirable productions of Bergameseart. It repre- 
sents the Virgin and Infant, with Mary Magdalene, — 
St. John, and St. Erasmus. Lanzi mentions a pic- 
ture by Colleoni of the ‘ Marriage of St. Catharine,’ 
in the Carrara Gallery, which was thought by the 
best judges to be a work of Titian, until the inscrip- 
tion, Hieronymus Colleo, 1555, was found on it. 
Not meeting with the distinction he merited in his | 
own country, and disgusted at the encouragement 
given to inferior talents of foreign growth, he- 
determined to leave it; but, previous to his depar- 
ture, Tassi asserts, he painted in one night on the __ 
fagade of his house a very beautiful horse, and — 
inscribed under it. Nemo propheta acceptus im 
patria sua. He went to Spain, where he met with 
due encouragement, and was employed in the 
Escorial. \ he 

COLLET, Jonny, known as‘ John Collet, senior, —_ 
died in London in 1771. He painted portraits. % 

COLLET, Joun, an English artist, borninLondon _ 
in 1725, was a scholar of Lambert, the landscape —_ 
painter. He painted subjects of humour, somewhat 
in the manner of Hogarth, approaching him only 
in vulgarity and caricature. In pieces wherein he 
did not attempt to imitate that genius, and confined 
himself to simple objects, he showed considerable 
merit in the representation of the characters and 
costume of his time. Several of his pictures have 
been engraved, and there are some etchings by 
him. He died in 1780. Two water-colour drawings 
by him are in the South Kensington Museum, 

COLLET, Louis, was a native of Paris, and 
flourished about the year 1610. Heengravedaset 
of plates or ornaments for goldsmiths and jewellers, 
from the designs of Giles Legaré, which are exe- 
cuted with the graver in a very neat style: these 
were published in 1663. 

COLLETTE, ALEXANDRE, a French lithographer, 
was born at Arras in 1814, and died in 1877. 


CHARLES COLLINS 


[ University Galleries, Oxford 


CONVENT THOUGHTS 


ry 


[on 


__ Bossin, was born at Warrington in the early part 
p, of the 18th century. He was an eccentric indi- 
___-vidual—travelling the country, first as a school- 


master, then as a sign-painter, portrait-painter, and 


caricaturist, living from hand to mouth. He was 


also an author, and issued in 1810, ‘ The Passions 
humouronsly delineated,’ with 25 coloured plates ; 


“ a volume of his ‘ Miscellaneous Works,’ with his 
_ Life by R. Townley, and with portrait and copper- 


piates,was published in 1818. He lived to the age 
of 80, but the dates of his birth and death are 
uncertain. 

COLLIER, Martan, an English amateur painter, 
was the daughter of Professor Huxley. In 1879 
she married Mr. John Collier. She painted figure 
pictures, and occasionally exhibited at the Academy 
and the Grosvenor Gallery, She died November 
18, 1887. 

COLLIER, Tom, was born at Glossop, Derbyshire, 
in 1840, Though he studied for a short time at 


_ the Manchester School of Art, he was practically 


self-taught. In 1861 he was elected a member of 
the Royal Institute of Painters in Water-Colours, 
to the exhibitions of which he was a frequent 
contributor. He sent pictures to the Paris Ex- 
hibitions of 1878 and 1889, and on the former 
occasion was created a Knight of the Legion of 
Honour. Collier painted landscapes of English 
scenery, in water-colour, of which three examples 
are at South Kensington. He painted also in oils, 
and exhibited at the Royal Academy. He died at 
Hampstead in 1891. 

COLLIER. See MonxKsweEtu. 

~COLLIN, RicHarp, a German designer and en- 
graver, was born at Luxemburg in 1627. He went 
to Rome when young, and became a scholar of his 
countryman, Sandrart, for whose ‘ Accademia’ he 
engraved some plates. On his return from Italy 
he resided at Antwerp and Brussels, where he 
engraved several portraits and other subjects, in a 
neat but laboured style. The following are his 
principal plates: 

PORTRAITS. 

Jane Bickerton, Duchess of Norfolk. 

Sir Godfrey Kneller; for Sandrart’s ‘ Accademia.’ 

John Zachary Kneller; for the same. 

Artus Quellinus, sculptor ; after FE. Quellinus. 

Jan Philip van Thielen, flower painter ; after the same. 

Joachim Sandrart. 1679. 

Bartolomé Esteban Murillo, painter; after Murillo. — 

Christian Albert, Prince Bishop of Lubeck. 1654. 

Anna Adelhildis, wife of the Prince de la Tour et 

Tassis. 1682. 
A set of forty portraits of the Saints of Mount Carmel. 
SUBJECTS AFTER VARIOUS MASTERS. 

Esther before Ahasuerus; after Rubens. 

Christ bearing his Cross ; after 4. Diepenbeeck. 

St. Arnold ; after the same. 

COLLIN DE VERMONT, Hyracinruag, a French 
historical painter, was born at Versailles in 1693. 
He was a grandson of H. Rigaud and a pupil of 
Jouvenet, and was received into the Academy in 
1725, when he painted the ‘ Birth of Bacchus,’ now 
in the Museum of Tours. Collin de Vermont was 
one of the twelve painters who in 1727 took part 
in the competition held in the Gallery of Apollo. 


‘He died in Paris in 1761. 


COLLINGS, S., a caricaturist and subject painter, 
flourished in the latter part of the 18th century. 
He occasionally exhibited at the Royal Academy. 

COLLINS, CHarues, who died in 1744, painted 
birds, game, and still-life. 


eS. ie ead . : PAINTERS AND ENGRAVERS. 
COLLIER, JOHN, who assumed the name of Tim 


COLLINS, Cuartes ALLSTON, a younger son of 
William Collins, was born at Hampstead in 1828. 
He first exhibited in 1847, and gave up the art in 
1858. Among the chief pictures exhibited by him 
at the Royal Academy we may mention ‘Convent 
Thoughts’ (1851), ‘The Devout Childhood of St. 
Elizabeth of Hungary’ (1852), and ‘The Good 
Harvest of 1854’ (1855); which is now at South 
Kensington. He was also an author, and con- 
tributed to ‘Household Words’ and ‘ All the Year 
Round,’ when the latter was edited by Charles 
Dickens. He also wrote (in 1863) ‘A Cruise upon 
Wheels,’ a clever description of his travels, which 
met with a deservedly favourable reception, and 
several novels. He was a younger brother of 
Wilkie Collins the novelist, and son-in-law of 
Dickens, for whom he furnished the illustrated 
title-page of ‘Edwin Drood.’ His contributions 
to ‘All the Year Round’ are amongst the most 
charming of its papers. He died after a long 
illness in 1873. 

COLLINS, ExizaBeTH JOHANNA, flourished about 
the middle of the 18th century. She made designs 
for book illustrations. 

COLLINS, Jacoz, an engraver of portraits and 
frontispieces for books, worked in the 18th century. 

COLLINS, Jamgs, flourished about the year 1715. 
We have some prints by him representing views of 
buildings, among which is the large plate of 
Canterbury cathedral. 

COLLINS, Joun, was an English engraver, who 
flourished about the year 1682. He engraved some 
very indifferent copies from the grotesque figures 
published by the Bonnarts at Paris, called Scara- 
mouch and his Company of Comedians. We have 
also some portraits by him; and the Funeral Pro- 
cession of George, Duke of Albemarle. 

COLLINS, Joun, flourished in England about 
1744. At Hampton Court are a ‘Shepherd’ and 
a ‘Shepherdess’ by him. 

COLLINS, RicHArD, a miniature painter, was 
born in Hampshire in 1755. He was a pupil of 
Jeremias Meyer. In 1777 he exhibited some por- 
traits at the Royal Academy, and in 1787 became 
chief miniature and enamel painter to George III. 
He died in London in 1831. 

COLLINS, SamvEL, a native of Bristol, practised 
miniature painting at Bath, and there imparted 
instruction to Ozias Humphrey. About 1762 he 
removed to Dublin and practised there with success. 
His death is not recorded. 

COLLINS, WitiaM, who is so well known by 
the rustic simplicity of his pictures, was born in 
London in 1788. His father, a native of Wicklow 
in Ireland, although of literary abilities and a poet, 
was obliged also to carry on the business of a picture 
dealer in order to obtain the means to support his 
family. Amongst other works, he wrote a Life of 
Morland, who allowed the young painter to visit his 
studio and to watch him paint, and by examining 
the works of the two men it will be seen that the 
early impressions made by the eccentric artist had 
a decided influence on the art of Collins, although 
the latter denied that he ever obtained any great 
advantage in the practical part of his art from the 
instruction which he received from Morland. 

In 1807, after having studied for many years 
under his father’s guidance, he at length obtained 
admission as a student into the Royal Academy, 
where he gained a silver medal for drawing from 
the life in 1809. Even at this early period he 
began to exhibit at the annual exhibitions, ry: his 


j =f 
= 


: 


first work was, ‘ Boys with a Bird’s Nest.’ In 1812 
he lost his father, who died leaving his family in a 
state of destitution, and wholly dependent on the 
young artist for means of subsistence. Collins, 
however, met with generous assistance from his 
friends. Among his early patrons were Sir Thomas 
Heathcote, Sir John Leicester, Sir George Beaumont, 
Sir Robert Peel, and the Earl of Liverpool. In 
this year he painted one of his principal pic- 
tures of rustic life, ‘The Sale of the Pet Lamb.’ 
‘The Burial-place of a Favourite Bird,’ exhibited 
at the same time, and possessing the same qualities 
of tender pathos and unaffected sentiment, so far 
advanced Collins in the opinion of his brother artists 
that in 1814 he was elected an Associate of the 
Royal Academy. | 

In 1815 he thought he would try fresh subjects, 
and accordingly went to Cromer to study the sea 
and the habits of fishermen. At the Gillott sale in 
1872 his large picture of ‘Cromer Sands’ brought 
3600 guineas. 

After visiting Norfolk he went to Hastings, and 
there painted many pictures of coast scenery, 
enlivened by groups of fisher-boys, boats, &c. In 
1818 one of these, a ‘Scene on the coast of Norfolk,’ 
was purchased by the Prince Regent, and now 
hangs in Windsor Castle. This patronage by 
royalty led to many other commissions, so that the 
artist rapidly rose to fame and overcame all his 
pecuniary difficulties. 

He had previously been compelled to resort to 
portrait painting as the only sure means of profit ; 
but now he was able to abandon it entirely, and 
having in his particular branch of landscape art, as 
his intimate friend Wilkie told him, the ball at his 
feet, he had but to paint as he had begun to widen 
his popularity. In 1820 he became a Royal Aca- 
demician, giving as a diploma picture ‘The Young 
Anglers,’ and for the next sixteen years he was a 
constant contributor to the exhibitions, sending 
occasionally five and never less than three pictures. 
In 1822, whilst on a visit to Scotland, he married 
Miss Geddes, the sister of Mrs. Carpenter, the 
portrait painter. 

Collins continued to paint numerous pictures of 
rustic life with great success; amongst which 
‘Rustic Civility’ and ‘As Happy as a King’ are 
perhaps the most popular. A replica of the latter 
now hangs inthe National Gallery. Wilkie Collins 
(the well-known novelist, and author of a Life of 
his father, published in 1848), says that the subject 
of this painting was suggested to his father by the 
story of the country boy whose ideal of happiness 
was swinging upon a gate all day long and eating 
fat bacon. 

In 1836 Collins visited Italy, having been re- 
peatedly urged by his friend Wilkie to see the 
beauties of that country. He remained two years 
abroad, and on his return the pictures which he 
exhibited surprised his former admirers; but it is 
doubtful whether the Italian journey was at all 
beneficial to his reputation. 

It is said that his unwise practice of painting at 
all times of the day while at Sorrento, though he 
was warned of its folly by his friends, sowed the 
seeds of the disease by which he was vanquished at 
last. A rheumatic attack left behind it disease of 
the heart, and although he lived for eleven years 
afterwards, he was never the same man again. It 
was under great suffering that he painted, in 1846, 
his beautiful picture of ‘ Early Morning.’ He died 
in London in 1847. 

316 


as 


Peeits PAV weet si) 
A BIOGRAPHICAL DICTIONARY OF 


In 1817 he had visited Paris; in 1 
and Belgium; in 1840 Germany; and 12 the 
Shetland Isles. a 

His pictures were at first landscapes with figures 
and simple incidents introduced—then subjects on 
the sea coast; occasionally portraits ; and latterly, 
after his Italian journey, sacred subjects. 

His works are very numerous: there are no less 
than twelve'in the Sheepshanks and Townshend 
Collections in the South Kensington Museum. The 
following are some of the principal, and are typical — 
of the rest. Several have beenengraved. = = 


1811. A Country Kitchen (in the Sheepshanks Collection — 
at South Kensington). A eae 
1813. The Sale of the Pet Lamb. 
1814. Bird Catchers—Morning (one 
early works, the property o 
Lansdowne). 
1816. Shrimp boys at Cromer. e Bf 
1817. Fishermen coming ashore before sunrise, _ ie 
1818. Coast of Norfolk. : tS 
1819. Morning—Fishermen on the look-out. 
1822. Scene near Chichester, 
1823. Scene in Borrowdale. 
», Walmer Castle. 
1824. The Cherry Seller. 
1825. Fishermen getting out their nets, 
1827. A Frost Scene. 
1828. Scene in Freshwater Bay, Isle of Wight, 
1829. Scene in a Kentish Hop Garden. hae ae eae 
1830. Waiting for the Arrival of Fishing Boats, Coast of 
France. oe 
1831. The Prawn Catchers (in the National Gallery) 
1833. Rustic Civility (at South Kensington). 
1834. Cottage Hospitality. 
1836. Sunday Morning. \ 
», Leaving Home. 
>, As Happy as a King 
Gallery). 
Bayham Abbey (at South Kensington). 
A Scene near Subiaco, Roman States. at 
Our Saviour with the Doctors in the Temple (the. 
property of the Marquis of Lansdowne). 
Ave Maria, Naples. 
The Two Disciples at Emmaus. 
Ischia, Bay of Naples. 
Welsh Guides, Llanberris. is 
The Caves of Ulysses at Sorrento (South Kensing-— 


ton). 
», The World or the Cloister. 
1844. Morning, Boulogne. 
», Seaford, Sussex (at South Kensington). 
1846. Early Morning. 
», Meadfoot Bay, Torquay. 
Hall Sands, Devonshire (at South Kensington). 


oe 
yay 
on 
pie 


of the best of his — 


the Marquis of 


. iy 
‘ ay 
= x 


Ay 


(a replica isin the National 


1839. 
1840. 


99 
1841. 


1849. 
1843. 


99 cre | 
Collins engraved, in a mixed manner of etching __ 
and mezzotint, some of his own paintings of coast 
scenes. . ae 
COLLINSON, James, who studied in the schools 
of the Royal Academy, first exhibited at its 
Exhibitions in 1847, ‘The Charity Boy’s Début.’ 
In 1848-49 he became one of the seven original 
members of the Pre-Raphaelite Brethren, of whom — 
five were painters: and in 1851 appeared his best 
work done under the influence of that teaching 
—‘An Incident in the Life of St. Elizabeth of =a 
Hungary,’ in illustration of Charles Kingsley’s: 
‘Saint’s Tragedy.’ Collinson soon after left this 
Fraternity, became a Roman Catholic, and spent 
the years 1852-1854 in a convent. He was subse- 
quently a frequent exhibitor at the Royal Academy, 
and he also sent works to the British Institution — 
and the Society of British Artists, of which he 
was a member from 1861 till 1870, in which 
year his active art life seems to have closed. He 
died in 1881, Among the best of his early works 


were: a 


ONIN V SV Add VH 
uopUuoTy ‘kAIzJVQ VT, | [oz0yg pjasunpyr 


PAINTERS AND ENGRAVERS. 


The Rivals. Royal Academy. 1848: 

Italian Image Boys. Royal Academy. 1849. — 

Answering the Emigrant’s Letter. Royal Academy. 1850. 
 COLLYER, Josspn, an engraver, was born in 
London in 1748, and became a pupil of Anthony 
_ Walker. He applied himself to book illustration 
with success; and attracting the notice of Alder- 
man Boydell, was employed to make an engraving 
after D. Teniers, and another of the ‘ Irish Volunteers,’ 
after Wheatley. He subsequently engraved, with 
great success, Sir J. Reynolds’ ‘ Venus,’ and ‘ Una,’ 
in imitation of chalk, the ‘ Girl with a Cat,’ the por- 
traits of Miss Palmer, niece of Sir Joshua, and of 
Reynolds by himself. He was elected an Associate 


-__ Engraver of the Royal Academy in 1786, and after- 


wards became Portrait Engraver to Queen Charlotte. 
He died in 1827. j 

COLOGNE. See KOun. 

COLOMBA, Luca Antonio, who painted in oil 
and fresco, was born at Arogno in Switzerland, in 
1661. His style was distinguished for its happy 
_ compositions and its careful design, as also for the 
delicate and tender colours. He was particularly 
admired in Germany, where he painted for some 
time, and was employed by the Duke Eberhard 
Ludwig of Wiirtemburg. He died in 1737. 

COLOMBANO, Anronio Mari, an Italian paint- 
er, of the town of Correggio, who flourished from 
1596 to 1616. Fifteen pictures by him, some of 
large dimensions, are mentioned by Pungilione 
in his Life of Antonio Allegri. The subjects are 
incidents in the life of the Virgin and the infancy 
of Christ. 

COLOMBEL, Niconas,a French painter, was 
born at Sotteville, near Rouen, about 1644. He 
went to Rome when quite young, and remained 
there until 1692, forming his style by a study of 
the works of Raphael and of Nicolas Poussin. His 
pictures met with considerable success, though in 
the opinion of critics of more modern days he 
never attained any real approximation to the works 
of those masters. He was admitted into the 
Academy of St. Luke at Rome in 1686, and in 1694 
into that of Paris. The Louvre possesses the ‘ Mars 
and Rhea Sylvia,’ which he painted for his recep- 
tion, and an able work representing the ‘ Miracle of 
St. Hyacinthe.’ He was much employed by Louis 
XIV. both at Versailles and at Meudon. Many of 
his works have been engraved by Dufloc, and by 
Michel Dossier. He died in Paris in 1717. 

COLOMBINI, Cosimo, an Italian engraver, 
flourished about the year 1754. He engraved 
among other things, several of the plates for the 
‘Museo Fiorentino.’ A great part of the portraits 
of painters in that work are by his hand; he 


marked some thus @. 


COLOMBO, Auvrzetio, an Italian line-engraver, 
was born at Varese about 1785. He was a pupil 
of Longhi and worked at Milan. His best works 
are the ‘ Massacre of the Innocents’ after Raphael, 
and a ‘ Virgin and Child’ after Luini. 

COLONIA, Apam, who was born at Rotterdam in 
1634, spent the greater part of his life in England, 
He died in London in 1685. He painted land- 
scapes and figures, sometimes in the manner of 
Berchem. In the Copenhagen Museum there is 
a picture by him of ‘Noah building the Ark’; 
and the Lille Museum has ‘The Angel appearing 
to the Shepherds’ attributed to him. 

COLONIA, Henprix ApriAay, the son of Adam 
Colonia, and the brother-in-law of Van Diest, 


by whom he was instructed, was born in 1668. 
He sometimes painted the figures in Van Diest’s 
landscapes, and also painted Jandscapes in imita- 
tion of the style of Salvator Rosa, He died in 
London in 1701. 

COLONNA, MIcHELANGELO, was born near Como 
in 1600, and was first a scholar of Gabriele 
Ferrantini, but he afterwards finished his education 
under Girolamo Curti, called Dentone. In con- 
junction with that master he executed some con- 
siderable works in fresco in the churches and 
palaces at Bologna, Ferrara, and Modena,—Den- 
tone usually painting the architecture and per- 
spective, and Colonna the figures. Their most 
admired works were the great perspective painted 
for San Michele in Bosco, and a saloon in the 
Palazzo Grimaldi. After Dentone’s death, Colonna 
painted in conjunction with Metelli in Bologna, 
Florence, and Genoa. Philip IV. of Spain invited 
the two artists to Madrid, where they executed 
several works in fresco, and were liberally rewarded 
by that monarch. Colonna afterwards worked 
with Alboresi. He died at Bologna in 1687. His 
portrait by himself is in the Uffizi, Florence. 

COLS, ApotpHe Féuix, a French portrait, 
genre, and landscape painter, died at Honfleur in 
1880, in his seventieth year. He was a pupil of 
Cogniet. 

COLSON, GuitLAuME Francois, a French his- 
torical painter, and pupil of David, was born in 
Paris in 1785, and died there in 1850. Among 
other works, he painted the ‘Entry of General 
Bonaparte into Alexandria,’ which is at Versailles. 

COLSON, JEAN BAprisTE GILLE, was a French 
painter of portraits in miniature and water-colours. 
He was born at Verdun in 1680, and assumed his 
mother’s surname of Colson, because the theatres 
of the fairs had brought ridicule upon the name of 
Gilles. Colson, who was a pupil of Christophe, 
and a member of the Academy of St. Luke, died 
in Paris in 1762. 

COLSON, JEAN Francois GILue, the son of the 
preceding, was born at Dijon in 1733. He was a 
pupil of his father, of Frére Imbert at Avignon, 
and of Nonotte at Lyons. On coming to Paris he 
was presented to the Duke of Bouillon, who kept 
him in constant employment for forty years as 
architect, sculptor, painter, and even gardener. 
He gained a high reputation as a portrait painter, 
and left several manuscripts on perspective, poetry, 
and the fine arts. He died in Paris in 1803. 

COLTELLINI, MicHarte, was a Ferrarese artist, 
and a follower of Panetti and Garofalo, who lived 
in the 16th century. He is the author of a ‘ Dead 
Christ on the lap of the Virgin’ in the Dresden 
Gallery, formerly assigned to Squarcione. His 
oldest panel is dated 1502, and represents the 
‘Death of the Virgin: ’ it is now in the possession 
of Count Mazza, at Ferrara. In the church of 
Sant’ Andrea, in the same city, is a ‘ Virgin and 
Child between SS. Michael, Catharine, John, and 
Jerome,’ signed and dated 1506. The Gallery of 
Ferrara has a ‘Madonna and Child and Saints,’ 
signed by him in 1542. The dates of his birth 
and death are uncertain. 

COLYN, MIcuIEzL, according to Florent Le Comte, 
is said to have been a native of Antwerp. He en- 
graved some plates of architectural subjects, among 
which is a view of the Exchange at Amsterdam. 

COLYNS, ARNoLD, lived at Cologne towards the 
end of the 16th century, and the Museum of that 
town contains some ‘Scenes from the Battle of 

317 


he 


caer! rt ps Fert re at ath eae me Pee 

A BIOGRAP 
Woringen,’ painted by him in 1582, which bear 
strong resemblance to the works of his contem- 
porary Johann von Aachen. se | 

COLYNS, Davin, was born at Amsterdam about 

the year 1650. He painted historical pictures of a 
small size, into which he introduced an infinite 
number of figures, which he grouped with great 
ingenuity. His pictures are touched with spirit 
and fineness. Houbraken extols, in high terms, 
two pictures by this master at Amsterdam, one 
representing ‘ Moses striking the Rock,’ the other 
the ‘ Israelites fed by the Miracle of the Manna.’ 
. COMBES, PETER, was an English engraver in 
mezzotint, who flourished about the year 1700, 
He was chiefly employed in engraving portraits, 
-among which is a small whole-length of Master 
Charles More, son of the Bishop of Ely, after 
Kerseboom. 

COMERFORD, Joun, who was born at Kilkenny 
in 1773, practised as a miniature painter in Dublin 
for many years. He died at Dublin about 1835. 
A portrait in miniature of an ‘English Military 
Officer, by him, is in the South Kensington 
Museum. 

COMIN, Jovan, or JAN, who flourished about 
the year 1630, engraved some of the plates of an- 
tique statues for the Giustiniani Gallery. They are 
executed with the graver in a stiff, tasteless style. 

COMO, Fra EMMANUELLO DA, born in 1586, was 
a Franciscan monk, and studied art under the 
direction of Silla at Messina. He distinguished 
himself by his pure and simple style, which is 
the more creditable as he flourished at a time 
when taste for art was in a most deplorable state. 
Several frescoes by him are in the library of the 
Irish convent of St. Isidore at Rome. He died 
in 1662. 

COMODI, AnprREA, a Florentine painter, was 
born in 1560. He was the scholar and friend of 
Lodovico Cardi, called Cigoli. He is rather to be 
considered as a Roman than a Florentine, as he 
went to Rome when he was young, in the pon- 
tificate of Urban VIII., and resided there the 
greater part of his life. His principal works are: 
‘Christ bearing his Cross,’ in the Tribune of San 
Vitale ; in San Carlo ai Catinari, the principal altar- 
piece, the Titular Saint kneeling ; in San Giovanni 
in Fonte, the ‘ Baptism of Christ by St. John.’ He 
painted a number of Madonnas, which Lanzi says 
are distinguished by the smallness of the neck, 
and a certain air of virgin modesty, which is pecu- 
liar to him. One of the most admired of these is 
in the Corsini Palace. Comodi went afterwards to 
Cortona, where he became the instructor.of Pietro 
Berrettini, who assisted him afterwards in several 
of his paintings. On his return to Florence he 
‘painted some works from his own designs, but 
more especially he copied and re-copied, in a skilful 
manner, the works of the great masters, among 
which were many pictures of the Virgin, to whom 
he was most devoted. These were mistaken at the 
time, even by the learned in art, for the originals. 
Such being the case two centuries ago, how diffident 
should we be in pronouncing judgment on the 
originality of his works in the present day. He 
died in Florence in 1638. 

COMONTES, Francisco pk, a son of Ifigo de 
Comontes, executed in 1533 the principal retablo 
of the chapel of Los Reyes Nuevos in Toledo cathe- 
dral, from the design of Felipe de Vigarny. In 
1545-7, he painted for the winter chapter room 
portraits of Cardinal Archbishop Tavera and Arch- 

318 


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bishop Siliceo ; in the latter year he was « 
painter to the cathedral, which office he reta: 
until his death in 1565. Pictures on panel of 
‘Virgin and St. Bartholomew,’ placed in 1559 
retablo gilt by his own hands, in the chapel of 
Tower, are considered his best works. _ 
COMONTES, INico DE, was a scholar of 10 
del Rincon. In 1495 he painted a ‘ History of Pilate” 
in the Cathedral of Toledo, and a picture for one of 
the porches. No traces of his works remain. His 
brother, ANTONIO DE CoMONTES, was also a painter. 
COMPAGNO, Scirionz, an Italian painter, was 
born at Naples about 1624, and was still living — 
in 1680. He was a pupil of A. Falcone and of 
Salvator Rosa, and his drawings are held in esteem. — 
The Belvedere, Vienna, contains two works by him, _ 
the ‘ Eruption of Vesuvius’ and the ‘ Beheading of _ 
St. Januarius.’ an 
COMPE, Jan TEN. See Ten Compr. a 
COMPTE-CALIX, Francois Ciavpius, a French © 
painter of genre subjects and portraits, was born 
at Lyons in 1813. He studied in the fine art 
school of his native city, and in the studio of J. C. 
Bonnefond, and first exhibited at the Paris Salon 
in 1840. His ‘ Vieil Ami,’ painted in 1863, was — 
in the International Exhibition at Paris in 1867. 
He died at Chazay d’Azergues near Lyons in 1880. 
COMTE, Le. See LEcoMTE. a 
CONCA, SEBASTIANO, was born at Gaéta in 
1679, and was educated in the school of Francesco _ 
Solimena. Under that master he acquired a 
competent ability in design, and a great facility. — 
In the early part of his life he was much occupied __ 
in portrait painting. Desirous of seeing Rome, 
and ambitious of distinguishing himself in a 
more elevated branch of the art, he visited the 
metropolis of Italy, with his brother Giovanni, in 
1706, and for five years changed the pencil forthe __ 
portecrayon, and was occupied in drawing from 
the antique, and the works of the great masters, 
The progress he had made under Solimena, im- 
proved by his studies at Rome, enabled him to _ 
produce some pictures which attracted the notice 
of Clement XI., who employed him in decorating 
his church of San. Clemente with several works in 
fresco, which gave so much satisfaction to his 
patron, that he conferred on him the order of © 
knighthood, and procured him every great public _ 
undertaking of that time at Rome. In addition 
to this, he painted also for the kings of Spain, 
Portugal, Sardinia, and Poland, and for the Blector 
of Cologne; also at Siena, Pisa, Loretto, Palermo, 
Gaéta, and Naples. For this flattering success, he 
was, however, more indebted to the state of deca~ — 
dence into which the art had then sunk at Rome, 
than to any particular or original merit of his own. 
He possessed a fertile invention, great rapidity of ; 
pencil, and a colour that enchants more by its 
brilliancy than its truth. In his attempts to be 
pleasing he sank into the pretty, and although he _ 
evidently aimed at grandeur, he never could divest 
himself of the littleness to which nature had con- 
fined him. Perhaps he has been too harshly 
treated by the surly criticism of Mengs, who 
observes, “that by introducing at Rome the man- 
nered style of Solimena, and a system less excel- 
lent than expeditious, he put the finishing touchto 
the ruin of painting.” He died at Naples in 1764. — 
The principal works of Conca are: ; 
Ancona. St. Francis Xavier 
' Berlin. Museum. Abraham. 
_ Darmstadt. Museum. Joseph in Prison. 


GIOVANNI BATTISTA DA CONEGLIANO 


CALLED 


CIMA 


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Herod examining the Magi. 
St. Augustine. © 
St. Nicholas. 
Christ in the Wilderness. 
Death of Seneca. 


| 
and 8. eat The Assumption of the Virgin. 


__ Grovanni Conca painted in the manner of his 
_ brother Sebastiano, and copied with great ability. 
_ We have by him several cartoons after Guercino 
d Lanfranco, which he executed for mosaics, 
CONCHILLOS FALCO, Juan, was an historical 
_ painter, born at Valencia in 1641. He was a pupil 
_ of Esteban Marc in that city, but after his mas- 
_ ter’s death he pursued his studies in Madrid. He 
afterwards returned to his native city, where he 
established an Academy and executed a number of 
_ altar-pieces for the churches of Valencia and of 
_ Murcia. He became blind and paralysed, and died 
in 1711. There is also an etching by him, repre- 
enting ‘The Dead Christ mourned by Mary, John, 
_and the Magdalene,’ 

~ CONCONI, Mauro, an Italian painter, was born 
in Milan in 1815, and died in 1860. He was a pupil 
_ of Sanguinetti, and is represented in the Brera, in 
his native city, by a portrait of Carlo Bellosio, 
_ the painter. 

CONDE, Jon, was an engraver who lived in 
- the latter years of the 18th century. He executed 
_ tastefully in the dotted style whole-length por- 
_ traits of Mrs. Bouverie, Mrs. Fitzherbert, Mrs. 
Tickell, and other ladies, after Cosway. He also 
engraved a small oval portrait of Madame Du 
Barry, after the same painter, but this bore no 
__. resemblance to the lady represented, and was pro- 
 bably fictitious. . 

~ CONDY, NicnoLas MarTuew, who was born at 
Plymouth in 1799, painted landscapes and marine 
subjects. He published a work on ‘Cothele, on 
the Tamar, the ancient seat of the Earl of Mount 
_ Edgecumbe,’ as well as some views on the Thames. 
He died at Plymouth in 1857. 

CONEGLIANO, Giovanni BATTISTA DA, (com- 
monly called Cima DA CONEGLIANO,) was born at 
_ Conegliano in Friuli, in the middle of the 15th 
century. The name ‘Cima’ was given him from 
his habit of constantly introducing into his pictures 
the hills and landscapes of his native place, and he 
was called in the 17th and following centuries (but 
not by his contemporaries) by no other name. 
» _‘«*He was probably a pupil of Alvise Vivarini, but 
> ___ was strongly influenced by Giovanni Bellini, An 
. early painting is a tempera ‘ Madonna and Saints,’ 
___ of 1489, in the Gallery of Vicenza, but having settled 

in Venice towards the close of the 15th century, 
he perceived the necessity of adopting the new 
method. One of his finest works is a ‘ Glory of St. 
» __ John the Baptist, which was painted in oil for the 
> __ church of the Madonna dell Orto, and may still be 
» _ seen there. In 1492 he executed the altarpiece of 
the ‘ Virgin and Saints’ in the cathedral of Cone- 
gliano, and in 1494 the beautiful ‘ Baptism of 
Christ,’ in San Giovanni in Bragora, Venice. In 
1501 he finished the ‘Incredulity of St. Thomas’ 
(now in the National Gallery) for the Hospital of 
Portogruaro; and in 1502 the ‘SS. Constantine 
! and Helen’ for the church of San Giovanni of the 

same place. In the Gallery of Parma is a ‘ Virgin 
| and Child between SS. Michael and Andrew,’ of 
' his execution, that was long considered to be by 
| Leonardo da Vinci; the same Gallery possesses a 
| superb ‘ Virgin and Child enthroned between SS. 


\ 


De Y) Se Re Ye Deve 


PAINTERS AND ENGRAVERS. 


Damian, Apollonia, Cosmo, John, Catharine and 
Paul,’ and two delightful mythological pieces, 
‘Endymion’ and ‘Apollo and Marsyas.’ The 
Academy of Venice also possesses an ‘ Incredulity 
of St. Thomas,’ painted early in the 16th century. 
The time of his death is uncertain, His latest 
works bear date 1508, but he is said to have been 
still working in 1517. Numerous paintings by 
him can be seen in all the large galleries, They 
are frequently signed ‘Joannes Baptista Cone- 
glianensis.’ The following are the principal : 


Berlin. Museum. Madonna and Saints (three). 
fi Ss St. Mark curing Anianus. 
Bologna. Pinacoteca. Madonna and Angels. 


Conegliano. Cathedral. Virgin enthroned, surrounded 
by six Saints. 1492. 

Museum. The Presentation in theTemple. 

+s Christ in Benediction. 
Madonna (two). 

Nat. Gall. The Infant Christ standing on 
the Knees of the Virgin. 

Madonna with the Infant Christ 
standing on her Knees. 

The Incredulity of St. Thomas. 

as St. Jerome. 

Ss Hertford H. St. Catharine. 

SS. Sebastian and Roch. 

St. Peter in cathedra between 
St. John the Baptist and St. 
Paul. 

St. Peter Martyr, with SS. 
Nicholas and Augustin. 

SS. Jerome, Nichoias, Ursula, 
and another. 

SS. Luke, Mary, John Baptist, 
and Mark. 

Madonna. 

St. Jerome. 

; = St. Giustina and two Saints. 

He Poldi Pezzoli. Head of female Saint. 
Modena, Museum. Christ taken down from the 
Cross. 
Pinakothek. Virgin, St. Jerome, and the 
Magdalene. 

Church. Polyptych. 

Louvre. Virgin and Child (s¢gned Joants. 
Bapt. CONEGLANESO OPUS). 

Madonna with Saints (two). 

Mythological pieces (two). 


| Baptism of our Lord. 


St. Helena and Constantine. 
The Nativity. 
Coronation of 


Dresden. 


Frankfort, 
London. 


be) 9 


99 99 


”? 
Brera. 


Munich. 


Olera. 
Paris, 
Parma. Museum. 


99 
S. Giovanni 
an Bragora. 


99 
Venice. 


9? 99 F 
Carmine. 


Ae SS. Giovanni e the Ma- 
Paolo. donna, 
» S.Maria dell’ Orto.8t. John between SS. Paul, 
Jerome, Mark and Peter. 

ae Academy.  Pieta. 

“7 Madonna with SS. John and 
Paul. 

Madonna. 

Madonna with six Saints. 

Christ and St. Thomas and 
Magnus. 

Tobias and the Angel. 

Virgin between SS. James and 
Jerome (painted in tempera). 
1489. 

Virgin between St. Jerome and 
St.Louis, Bishop of Toulouse. 


CONEY, Joun, an architectural draughtsman 
and engraver, was born at Ratcliffe Highway, 
London, in 1786; he was apprenticed to an archi- 
tect, but never followed the profession. He com- 
menced making pencil drawings of the interior 
of Westminster Abbey and other Gothic buildings 
as early as the age of fifteen; these he sold to 
dealers, and other casual customers, at very small 
prices. In 1815 he published his first work, a 
series of eight views of the exterior and mene of 

1 


99 99 
Vicenza. Museum. 


Vienna, Gallery. 


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A BIOGRAPHICAL DICTIONARY OF = 


Warwick Castle, drawn and etched by himself. | a ‘St. George’ and a portrait by him, and t 


Shortly afterwards he was employed by Harding 
to draw and engrave the fine series of exterior 
and interior views of the Cathedrals and Abbey 
Churches of England, to illustrate the new edition 
of Dugdale’s ‘Monasticon,’ edited by Sir Henry 
Ellis. These plates occupied a great portion of 
his time for fourteen years, and are executed with 
consummate skill. In 1829, he commenced the 
engravings of ‘ Ancient Cathedrals, Hétels de Ville, 
and other public buildings in France, Holland, 
Germany, and Italy;’ all of which were drawn 
from the several objects by himself. This work 
was intended to be comprised in twelve parts, but, 
not meeting with the public encouragement to 
which it was entitled, only. eight were published. ' 
Mr. Charles Heathcote Tatham wrote the necessary 
descriptions. In 1831 Coney commenced a similar 
series of the‘ Architectural Beauties of Continental 
Europe,’ for which Mr. H, E, Lloyd wrote the de- 
scriptions, This handsome work consists of 28 
large plates of remarkable edifices in France, the 
Low Countries, Germany, and Italy, and 56 vig- 
nettes, all drawn and etched by himself. In addi- 
tion to these laborious undertakings, he executed 
numerous drawings in pencil, and also in colours, 
for private commissions; and necessity often com- 
pelled him to part with many to picture-dealers 
and print-sellers. He was employed by Cockerell, 
the architect, to engrave a very large ‘View of 
Rome,’ and another plate as a companion to it, 
neither of which has been published. His draw- 
ings exhibit all the minutest details without the 
appearance of labour, yet with a neatness that is 
truly surprising. He died in Camberwell in 1833. 
A ‘View of the Interior of Milan Cathedral’ was 
published after his death for the benefit of his 
widow. , ; 

CONGIO, CammitLo, an Italian designer and 
engraver, was born at Rome about the year 1604. 
In 1630, he engraved some plates for the ‘Galleria 
Giustiniana,’.» He. also executed some of the en- 
gravings for Tasso’s ‘ Jerusalem,’ after the designs 
of Bernardo Castello. We have by him some prints 
after different Italian masters, which he generally 
marked (C.F. His works most worthy of notice 
are : 

The Annunciation. 

The Adoration of the Magi. 

Hercules combating the Hydra. 

A Frontispiece entitled, Diverst ornamenti capriciost. 

The Creation of Angels; after Camasset.~ » © 

Frontispiece to the Aides Barbarinz ; after Guido Ubaldo 

A bbatinz. a 
An Assembly of Saints; after Gasparo Celio. 


CONGNET, Gites, (or CoIGNET,) was born at 
Antwerp in 1540. .He was some time under a 
painter called Antonio Palermo, then resident at 
Antwerp, and afterwards went to Italy. After 
visiting Terni, Naples, and several towns in 
Sicily, he returned to the Low Countries, where 
he was much encouraged. He was admitted into 
the Guild of St. Luke at Antwerp in 1561, and was 
dean in 1584-85. The troubles that existed at that 
time under the Prince of Parma, obliged Congnet 
to leave his native country about 1586, and take 
refuge in Amsterdam, where he remained several 
years. He painted historical and mythological 
subjects of an easel size, but was more successful 
in landscapes, in candle-light subjects, and moon- 
light. He finally settled at Hamburg, where he 
died in 1599. The Museum of Antwerp contains 

320 


t = 


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Cassel a ‘ Venus and Cupid’ of the year 1579. 
CONINCK. See Koninck, —— : 
CONINCK, Dz (or ContnaH). See Dr Ko- 

NINCK. > +n 

CONINXLO, Cornelis van, (or ConrxLo,) was a 

Flemish painter of the 16th century, of whom 

nothing has been recorded. He is only known by 

a painting which bears his signature, ‘Cornilis va 

Conixlo Scernir 1526,’ in the Brussels Gallery; it 

represents the ‘ Parentage of the Virgin.” = 
CONINXLO, GILLEs van, (ConinesLoo or Co- 

NINCXLOY,) a Flemish painter of landscapes, and a 

relation of the other artists of the same name, was — 

born at Antwerp in 1544. . He was first instructed — 
by Leonard Kroes, but afterwards became a scholar 
of Gilles Mostaert.. He.travelled.through France to — 

Italy, and on his return to.Flanders, was much em- — 

ployed in painting landscapes, in which the figures" 

were frequently added by Martin.van Cleef. Co- — 
ninxlo was esteemed, one: of the.ablest artists, in 
the branch that he followed, ofthe time in which — 
he lived. His touch*is spirited and light, and his 
colour clear and agreeable... He. died» at Antwe 
in 1609. His only known work, a landscape 
dated 1604, is in the possession of Prince Liechten- — 
stein at Vienna. Nicolaas De Brin engraved 
much after him. wee $a ae 4 Bes Ss, Be 
CONINXLO, JAN VAN, was born at, Brussels in _ 


1489 (?), but nothing is known of; the details of 
his career. His father, who bore the same christian _ 
name, had another son, Pieter yan Coninxlo: both 
were painters. The name.is, found written ina 
variety of ways—Coninxlo, Conninxlo, Connixlo, — 
Cooninxloo, Conixloo—and sometimes with the — 
additional name of Schernier. The BrusselsGallery _ 
contains five works: by Jan ‘van: Coninxlo: a trip- ‘” 
tych, of the ‘ Life of. St. Anne,’ which bears on 
its right wing .(representing the, death of that  __ 
saint) the signature * Jan van-Conixlo 1546’; the 
‘Birth of.St. Nicholas,’ and the ‘Death of St. 
Nicholas,’ both of which were formerly in achurch _ 
in Louvain; ‘Christ among. the Doctors,’ and the 
‘Marriage at, Cana.’ These were formerly attri- 
buted to Gilles van Coninxlo... ¢ | a 
CONJOLA, Cart,.a landscape painter in water- 
colours and oil, was born.at:Mannheim in 1773, _ 
and died at Munich in’1831,. His-views are prin- 
cipally of the mountainous, parts-of Bavaria and 
the Tyrol. a aE So a oa ' ? “ 
CONQUY, Epuraim, a French line-engraver, was 
born at Marseilles in 1809, and died in Paris in 
1843. His works,many of which are portraits, are _ 
noticeable for vigour and for delicacy of finish. 
The most important are the following : ee 


The French Mother ; after Steuben. - 
as os Jesus on the steps of the Temple; after Carle — 
olet. ‘ oa 
St. Catharine; after the same. 
St. Cecilia ; after Domenichino, ae 
The Neapolitan Mother ; after Horace Vernet. on 
CONRAD, a monk, who lived about the middle — 
of the 13th century, compiled a number of learned _ 
works, which he illustrated with pictures, The 
Court Library at Munich possesses several of his 
designs for these, especially an‘Evangeliarium’and _ 
‘Lectionarium,’ in which there is evinced a more 
advanced perception of the true natural form than 
is to be found in most miniatures of the Roman 
style in Germany. >> 
CONRAD, Asranaw, (or ConraDus,) wasa Dutch 
designer and engraver, who flourished about the — 


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_ year 1650. His plates consist chiefly of portraits, 
part of which are from his own designs. They 
_ possess great merit, and some of them are success- 

ful imitations of the style of Lucas Vorstermans. 

he following are his principal prints: 


hm PORTRAITS. 

Christopher Love. 

Jacob Triglande, professor of Theology at Leyden. 
Thomas Maurois, of Canterbury, ecclesiastic at Amster- 
dam; after D. Boudringhen. 

_ Godefroid Hotton, Pastor of the French Church at 
_ __ Amsterdam; after H. Mermans ; very fine. 

_ The Flagellation ; after A. Diepenbeeck. 

_ The Crucifixion ; after the same. 

_ CONRAD, Cart Emanvezt, an architectural 
painter, was born at Berlin in 1810, and instructed 
first in that city, and afterwards at Disseldorf, 
_ the Academy of which town he attended from 1835 
_ till 1839. Both in this institution and at the Real- 
schule he gave instruction in perspective to young 
artists, and received the title of professor, the Order 
of the Red Eagle, and a medal from the Pope. He 
_ painted buildings of the middle ages, with land- 
- scape surroundings, such as ‘The Church of St. 
_ Quirinus in Neuss,’ ‘The Cloister of St, Severinus 
in Cologne’ (1837), ‘The Cathedral of Mayence’ 
_ (1841), ‘Custom House in London’ (1852), 
_ * Views of Cologne Cathedral,’ &c. He also exe- 
cuted some excellent acquatints, as ‘ Pius [X..in his 
_ Cabinet,’ and ‘An Assemblage at Sigmaringen in 
d 4 Semin Time’ (1872). He died at Cologne in 
_ CONRADER. See Konraper. 

CONSCIENCE, Francois AnToInz, a French 
painter of animals, who always exhibited under the 
name of Franois. He was born at Besancon in 
___ 1795, became a pupil of Guérin, and died at Luxe- 
uil in 1840. 
CONSETTI, 


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an Italian historical 
is painter, who was born at Modena in 1686, and died 
___. 1n 1766, is represented in the Estense Gallery, in 
_ his native city, by ‘The Virgin of the Rosary with 
St. Dominic,’ and ‘St. Joseph and Angels.’ 
_ CONSORTI, Bernarpo, an Italian line-engraver, 
- ‘was born at Rome about 1785. He engraved the 
‘Holy Family with the Family of St. John’ after 
__ Garofalo, the ‘Entombment’ after Van Dyck, and 
* Psyche ’ and other sculpture after Canova, 
CONSTABLE, Joxy, one of the greatest realistic 
landscape painters of England, was born at East 
Bergholt, in Suffolk, on the 11th of June, 1776. 
It is recorded that he was so weakly at his birth, 
that he was baptized on the same day. He was 
sent to school at Lavenham and afterwards to 
Dedham, where, it is said, the boy was distin- 
guished for little more than his penmanship. His 
father, a wealthy miller, at first intended him 
a to enter the Church, but as he had no taste for 
‘| theological studies, the old man changed his 
| 
| 


ANTONIO, 


mind, and determined that his son should follow 
his own trade; and, although the youth showed a 
decided taste for painting, he would on no account 
ii hear of his making that a profession. John, how- 

ever, made friends with a village plumber and 
it glazier, of the name of Dunthorne, who was an 
enthusiast in art, and these two used to study 
painting in the fields; and thus it was that he took 
his study from the books of nature. As Constable 
/ grew up, he was known from his good looks and 
fine figure as the ‘handsome miller’; and when he 
was eighteen years of age, he spent a year, under 
the pretext of carrying on his business as a miller, 


4 


=e ? 


PAINTERS AND ENGRAVERS. 


in observing the picturesque effects of the heavens 
and the earth, and copying the drawings of Girtin, 
which had been lent to him by Sir George 
Beaumont. 

In 1795, Sir George’s patronage and his own 
unmistakable genius for art, induced his parents to 
allow him to go to London to study painting. 
Shortly afterwards, however, he was recalled to 
his native village, where he for some time shared 
his father’s labours; and it was not until 1799 
that he revisited London. In the same year 
he was admitted as a student into the Royal 
Academy, and he received some instruction from 
Farrington and Reinagle, and painted a few por- 
traits, and attempted historical subjects; but his 
true instructor was Nature, and his true branch of 
art was landscape painting ; and in the year 1802 
one of his landscapes was included in the Royal 
Academy Exhibition. 

During the following years he stayed in the 
summer months in the country, “living nearly 
always in the fields, and seeing nobody but field 
labourers,” and sent to the Royal Academy and the 
British Institution numerous landscapes and studies. 
He was twice induced to paint an altar-piece: one, 
‘Christ blessing little Children,’ for Brantham Church, 
in 1804, and the other, ‘Our Saviour blessing the 
bread and wine,’ for Nayland Church, in 1809; but 


“it is believed that he never again attempted sacred 


subjects. 

The whole life of Constable is a testimony to his 
preference for the study of nature: his letters to 
Archdeacon Fisher, of Salisbury, and to his old 
friend, John Dunthorne, are full of delicate observ- 
ations on the subject, and show a fresh appreciation 
of the qualities of the country and the various 
methods of landscape painting, The more his talent 
was developed, the greater became his wish to 
depart from the popular style of classical painting 
at that time in vogue, and to observe directly all 
the different aspects of nature. 

Though a hard worker, it appears that Constable 
met with little success for many years, and in 1811 
he was still without reputation, except among a few 
friends ; some of whom were Sir George Beaumont, 
Reinagle, Bishop Fisher, and Miss Mary Bicknell, 
whom he married, secretly, in 1816. But in the 
year 1819 Constable was elected an Associate of 
the Royal Academy, and ten years afterwards an 
Academician. 

About this time Constable’s pictures began to 
gain notoriety, and a French speculator, who had 
bought three at the Royal Academy, sent them to 
the Paris Salon in 1824. These were ‘The Hay 
Cart,’ a ‘View near London, and ‘The Lock on 
the Stour.’ These pictures were much admired at 
Paris; the native artists were astonished at the 
power displayed in them, and the King of the 
French awarded Constable a gold medal. : 

In the year 1827, ‘The Corn-Field,’ one of his 
masterpieces, was exhibited at the British Institu- 
tion, where it held its own even in the neighbour- 
hood of works by Claude and Cuyp. 

In the same year Constable took up his abode at 
Hampstead, his dear Hampstead, his sweet Hamp- 
stead, as he called it. He says, “My little studio 
commands a view without an equal in all Europe.” 
Here he loved to sketch, and the neighbourhood 
furnished him with many studies for his pictures, 
as did also Osmington, the birthplace of his wife, 
and Salisbury, the residence of his friend Fisher. 
He continued to send many contributions to the 

321 


rl 7 


t. I 5 nh 
‘ia We Loh. ee 


Academy ; amongst the most noted may be men- 

tioned ’ Suiabary Cathedral,’ and ‘The Valley 

Farm,’ (known as Willy Lott’s House,) situated on 

the Stour near Flatford Mill. 

Constable published in 1830-32 a set of mezzo- 
tint engravings of ‘English Landscapes,’ by 
David Lucas, from pictures painted by himself, 
“The subjects of all the plates are taken from real 
places; they are mostly rural, and are meant par- 
ticularly to characterise the scenery of England. 
He also gave numerous lectures on the study of 
nature, and occasionally painted in water-colour. 

Constable died suddenly in Charlotte Street, 
Fitzroy Square, London, on the Ist of April, 1837. 
His ‘Memoirs,’ composed chiefly of his letters, 
were published by C. R. Leslie, R.A., in 1843, and 
again with additions in 1845. The first edition con- 
tains the plates by Lucas of ‘English Landscapes.’ 

He was one of the deceased painters who were 
represented in the London International Exhibition 
of 1874, when the following pictures by him were 
lent for exhibition : 1? Bernck 

The Embarcation of George IV. from Whitehall on the 

occasion of the opening of Waterloo Bridge. 

Dedham Farm. 

The Hay Wain. 

The Leaping Horse. 

Englefield House. 

The Valley of the Stour. 

A Dell in Helmingham Park ; besides numerous sketches 

for his other well-known works. 

The following are his principal works in public 
galleries : : 

London. National Gall. The Cornfield (or Country Lane), 

painted in 1826. 

The Valley Farm (Willy Lott’s 
House), exhibited at the Royal 
Academy in 1835. 

a 5 » A Cornfield with figures. 

ms » Barnes Common. ; 
S. Kensington Salisbury Cathedral (signed and 
) dated 1823). - 

Dedham Mill (signed and dated 
1820). 

Hampstead Heath (exhibited at 
the Royal Academy in 1827). 
Hampstead Heath (exhibited at 
the Royal Academy im 1830). 
Boat-Building, near Flatford Mill. 

Water Meadows, near Salisbury. 

The Cottage. 

The Rainbow (with a view of 
Salisbury), a sketch. 

Weymouth Bay. 1827. 

View of Hampstead Heath (@ 
sketch). 

on » The Glebe Farm. 

CONSTANT, Jean JosepH BENJAMIN, was born 
in Paris in 1845, studied at the Beaux-Arts, and 
then entered the atelier of M. Cabanel. His first 
picture was hung in the Salon in 1869 before he 
was twenty-four years old, and was called ‘Hamlet 
et le Roi.’ Since that time down to the very year 
of his death he was hardly ever absent from the 
great Parisian Exhibition. Probably no French 
artist has attracted moreattention than M.Constant, 
or has had his work so minutely studied, and his 
methods more frequently copied by his compatriots. 
He was for years the master of the modern French 
school, and could never complain that his country- 
men failed to appreciate him. Amongst his notable 
works are ‘Trop Tard’ (1870), ‘Samson et Délilah’ 
(1871), ‘Femmes en Riff,’ ‘ Boucher Maures a 
Tanger, ‘Coin de Rue,’ ‘Carrefour & Tanger,’ 
‘Prisonniers Marocains,’ ‘Femmes de Harem & 
Maroc,’ all studies of life in Morocco, a country of 

322 


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” ” 9 


i ee 


A BIOGRAPHICAL 


nown in England and America has been chiefl 


. King of Rome, Charles X., and the Emperor of — i; 


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semi-barbarism which appealed to his imagin 
‘La Vengeance du Chérif,’ another Oriental st 
(1885), ‘Judith’ and ‘Justinian ’ (1886), ‘Orp 
and ‘Theodora’ (1887), ‘Pope Urban II. enteri 
Toulouse,’ ‘ Beethoven,’ ‘ Victrix,’ and others. — 
addition to all these subject pictures he was 
eminent painter of portraits, and by them his re- 


produced. He painted Queen Victoria, Quee 
Alexandra, the Pope (Leo XIII.), the Du 
d’Aumale, the Marquis of Dufferin, Lady He 
Vincent, the Duchess of Marlborough, and 
Hanotaux. Two of his best portraits, those of Lord 
Savile and M. de Blowitz, were upon the walls of 
the Salon in 1902 when he died; that of Quee: 
Alexandra having been exhibited in the previou 
year. He was largely influenced in his technique b: 
a careful study of the work of Gainsborough, ans 
his paintings show evident signs of an entire 
change of method after the works of the English — 
school first attracted his attention. His aim wa 
in all cases to produce a single well-balanced 
harmony of light and colour. Few of his portraits — 
received such an excess of criticism as the on 
of Queen Victoria which appeared at. the Roya 
Academy in 1900. Its stately but unaffecte 
grandeur was very attractive, but the somewha 
over-strained sentiment did not appeal to English 
critics, There is no doubt that at times his 
lighting was too artificial and almost garish,and 
his colour false, and these qualities were discovered _ 
in this celebrated portrait, and were vehemently — 
pointed out by many writers. The portrait will, 
however, remain noteworthy as a majestic con- 
ception grandly presented on canvas. Constant — 
was greatly affected by the death of his son in — 
1899, and never quite recovered from the blow. — 
In 1901 he caught an acute attack of influenzain © 
Scotland, and from the effect of this died in May ~~ 
1902. He had painted many decorative canvases — 
for public buildings in Paris, especially at the — 
Hotel de Ville and Opéra Comique, and was at the 
very last engaged in setting out a new and even 
more important work of this sort. He was a 
member of the Institute of France, and Commander 
of the Legion of Honour. | . G.C.W: 
CONSTANTIN, AxpraHAM, a Swiss enamel — 
painter, was born at Geneva in 1785. He became 
a pupil of Gérard, after whom he executed many | 
works on porcelain, including portraits of the 


Russia. He was attached to the manufactory 
Sévres, and died at Geneva after 1851.- — 
CONSTANTIN, Jean AnrToinne, a landscape — 
painter, who also etched, was born at Bonneveine, — 
near Marseilles, in 1756. An enamel painter, dis- — 
cerning his talent, found him employment in 
painting porcelain, an occupation which he quitted + 
to get lessons at Marseilles from Kapellerthe elder _ 
and David of Marseilles. From that city anamateur __ 
took him to Aix, and arranged for his going to 
Rome, where he worked hard for six years. Onhis 
return to Aix he became the director of the School _ 
of Design. He exhibited at the Paris Salon from 
1817 to 1831. Many of his paintings and athousand ~ 
drawings and etchings by him are in the Museum 
at Aix, where he died in 1844. aS 
CONSTANTIN, JosrpH S&BasTIEN, the son of 
JEAN ANTOINE Constantin, and also a landscape 
painter, was born at Aix in 1793. Helosthissight, 
and died in the hospital of Bicétrein 1864. = = 
CONSTANTINI, Giovanni Barrista, (or Con- 


at De 


Hanfstingl photo) 


JOHN CONSTABLE 


THE VALLEY FARM 


[National Gallery, London 


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BENJAMIN CONSTANT 


HER MAJESTY QUEEN ALEXANDRA 


_ §TANTINO), was a native of Italy, who flourished 
about the year 1619. We have an etching by him, 
_ representing a Bacchanalian subject, surrounded 
with a grape vine, in the form of a border. 


It is 
executed in a slight, free style, somewhat resem- 


q bling that of Guido, though less masterly, and 


bie 


Les 


Lae [ ipraety 


especially in painting ceilings. 


‘ pee et 
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_ Florence. Gallery. 


appears to have been the work of a painter. 


ONTARINI, Cavaliere GIovANNI, was born at 
Venice in 1549. He was acontemporary of Palma, 
and studied the works of Tintoretto and Titian. 
His portraits and altar-pieces are distinguished by 


their beautiful colouring: in the former he fol- 


lowed the chaste and simple style of Titian. Con- 
tarini was a perfect master of the sotto im su, as is 
seen in his picture of the ‘ Resurrection’ in San 
Francesco di Paola at Venice. He appears to 
have been much engaged in painting easel pictures 
of mythological subjects, which he had learning 
enough to treat with propriety, but he excelled 
He went to Ger- 
many and passed some years at the court of the 


- Emperor Rudolph II., by whom he was knighted. 


He died in 1605. 
Amongst his works, which are principally to be 


- met with in the churches and palaces of Venice, 


may be mentioned: | 


Berlin. Museum. St. Sebastian. 

His own Portrait. 

St. Jerome. 

The Virgin and the Infant Jesus 
enthroned, with St. Mark, St. 
Sebastian, and the Doge Marino 
Grimani kneeling; formerly in 
the Ducal palace at Venice. 
His best work. 


Milan. 
Paris. 


Brera. 
Louvre. 


Venice. sited della The Crucifixion. 


Vienna. Gallery. The Baptism of Christ. 


CONTE, Jacopo DEL. See Det Conte. 
CONTE, Nicozas Jacquzs, a French mechanician 
and portrait painter, was born at St. Cénery in 


_ Normandy in 1755. He was the inventor of a 


machine for engraving and of the crayons which 
bear hisname. He died in 1805. 
CONTI, Bernarpino Dz’. See Dr’ Conti. 

CONTI, Crsare and VINCENzIO, two brothers, 
were natives of Ancona, but went to Rome during 
the Pontificate of Gregory XIII., by whom they 
were employed, as well as by his successors, Sixtus 
V., Clement VIII., and Paul V. Cesare was es- 
teemed for his grotesque ornaments, and Vincenzio 
painted the figures. ‘The former died at Macerata 
about 1615; the latter went to the court of Savoy, 
and died there in 1610. Some of their works are 
in Santa Maria in Trastevere. In San Spirito in 
Sassia is the history of San Giacomo del Zucchi; 
in Santa Cecilia, ‘St. Agnes,’ and the ‘ Martyrdom of 
St. Urban.’ 

CONTI, Francesco, an Italian historical painter, 
was born at Florence in 1681. He was a pupil of 
©. Maratti, whose style he imitated. He died in 
1760. His own portrait by himself is in the Uffizi. 

CONTRERAS, Anronio DE, a Spanish painter, 
‘was born at Cordova in 1587, He was a pupil of 
Pablo de Cespedes, after whose death he went to 
Granada, and subsequently to Bujalance, where he 
resided until his death, which took place in 1654, 
He painted many pictures for the Franciscan con- 
vent and other churches of Bujalance, and also 
distinguished himself by his portraits. 

COOK, Ricwarp, was born in London in 1784, 
and entered the schools of the Royal Academy 
in 1800. He was a constant contributor to the 


meee 


PAINTERS AND ENGRAVERS. 


exhibitions from 1808 to 1822, during which time 
he painted several landscapes not destitute of poetic 
beauty, scenes from ‘The Lady of the Lake,’ dis- 
playing taste and talent, and in 1817 (having been 
elected an Associate in the preceding year) a more 
ambitious work, entitled ‘ Ceres, disconsolate for 
the loss of Proserpine, rejects the solicitations of 
Iris, sent to her by Jupiter.’ In 1822 he attained 
the rank of Royal Academician, and almost from 
that time forward, and certainly for many years 
preceding his death, he seems to have relinquished 
his profession, and ceased to contribute to the 
annual exhibitions of the Academy, his private 
fortune enabling him to live independently of 
his art. He died in London in 1857. He illus- 
trated editions of ‘The Lady of the Lake’ and 
‘Gertrude of Wyoming.’ 

COOK, RoseErt, an artist who lived at the end 
of the 15th and the beginning of the 16th century, 
is said to have painted the portraits of Henry VIL, 
Henry VIII., Queen Katharine, the Duke of Suffolk, 
and the family of Sir Robert Wingfield. 

COOK, SAmugL, a water-colour painter, was born 
in 1806 at Camelford in Cornwall. At the early 
age of nine he was apprenticed to a firm of woollen 
manufacturers in that place, but during the inter- 
vals of his duties he would amuse himself with 
making drawings in chalk on the floor of the fac- 
tory, to the annoyance of his employers, one of 
whom declared that “‘he would never be fit for 
anything but a limner;” and a limner he ulti- 
mately became. On the expiration of his appren- 
ticeship he went to Plymouth, where he set up as a 
painter and glazier. Every hour he could snatch 
from business, however, was devoted to sketching 
from nature, and though these early products of 
his pencil displayed timidity in respect of colour, 
they nevertheless exhibited great truth; and with 
increasing knowledge and experience came in- 
creased confidence and power. In 1830 he sent 
some drawings to the New Society (now the Insti- 
tute) of Painters in Water-Colours, which obtained 
him admission into that body; to whose annual 
exhibition he became a regular contributor, chiefly 
of coast scenes, though sometimes of inland views, 
till the day of his death, which occurred in 1859. 
A view of ‘Stonehouse, Plymouth,’ by him is in 
the South Kensington Museum. 

COOK, THomas, who was born about the year 
1744, was a pupilof Ravenet. He engraved many 
portraits, as well as some of the plates for Bell’s 
‘Shakespeare’ and ‘British Poets.’ He was also 
employed by Alderman Boydell, and engraved some 
of the works of Hogarth. He died in 1818, aged 74. 

COOKE, Epwarp WIt.I4M, the son of George 
Cooke, the engraver, was born in London in 1811, 
and was brought up with a view of following his 
father’s profession. He early published a set of 
sixty-five etched plates of ‘Shipping and Craft, 
views on the Thames. But in 1832 he determined 
to adopt oil-painting in place of engraving ; and, 
three years later, his first works, ‘ Honfleur Fish- 
ing Boats’ and a ‘Hay-Barge, off Greenwich,’ 
appeared at the Royal Academy. Since then, with 
three exceptions, 1839, 1846, and 1874, there was 
not a single exhibition up to that of 1879, which 
did not contain one or more of his works. To 
forty-one exhibitions he contributed one hundred 
and thirty works, all well thought out and carefully 
executed. In 1851 he was elected an Associate of 
the Royal Academy, and in 1864 he was made an 
Academician. He also contributed many Soo 

32: 


eee ra o ay PN: ies tastii SO, oe es bia 
ee wetics ee 
A BIOGRAPHICAL DICTIONARY OF 2 


to the British Institution, and frequently painted 
in water-colour: the South Kensington Museum 


has a collection of his works in this medium. He | 


was a fellow of the Royal, the Geographical, the 
Geological, and the Linnean Societies. He died at 
Groombridge, near Tunbridge Wells, in 1880. 

His paintings generally represent views on the 
Thames, the Medway, and the English coast ; but 
they also include scenes from Holland and France, 
and even so far afield as Morocco and the lagoons 
of Venice. We need mention but few: 


Dutch Boatsinacalm. 1844. Jn the National Gallery. 

The Boat-House. In the National Gallery. 

Lobster Pots. 1836. . 

Brighton Sands. 1838. 

Mending the Bait Nets,Shanklin. 1836. 

Portsmouth Harbour—The Hulks. 

Portsmouth Harbour—The Victory. 

Dutch Boats on the Y. 1837. 

Dutch Boats on the Dollart Zee. 

A Calm Day in the Scheldt. 

A Bit of English Coast. 

Catalan Bay, Gibraltar. 1863. 

The Goodwin Light-Ship. 

A Dutch Galliot aground. 

H. M.S. Terror abandoned. 1860. 

Schevening Pinks running to anchor off Yarmouth. 
1864. 


At South 
Kensington. 


COOKE, GrorGz, a line-engraver, who was born 
in London in 1781, was apprenticed to James Basire, 
and early in life attained celebrity. He died at 
Barnes in 1834. He was brother to William Ber- 
nard Cooke, and father of Edward W. Cooke, R.A. 

The following are his principal works : 

Illustrations to the ‘ Beauties of England and Wales.’ 
Pinkerton’s ‘ Collection of Voyages and 

Travels.’ 
‘The Thames.’ 1811. 

‘The Southern Coast of England.’ 1814- 

1826. 

Surtees’s ‘ History of Durham.’ 
Clutterbuck’s ‘ Hertfordshire.’ 
Hakewell’s ‘ Italy.’ 

D’Oyly and Mant’s ‘ Bible’ 

‘The Botanical Cabinet.’ 1817-1833. 


- ‘London and its Vicinity.’ 1826-1828. 
Gledhouse, Yorkshire; after Turner. 
Rotterdam ; after Sir A. W. Callcott. 1825. 


Old London Bridge; after E. W. Cooke. 

New London Bridge; after the same. 

COOKE, Henry, a portrait painter and copyist, 
flourished in 1640, as appears by several portraits 
painted by him in that year for the Company of 
Ironmongers, and now in their Hall. They are 
probably copies of older pictures, as with the 
exception of Sir James Campbell, who sat to the 
artist, all the persons represented were dead long 
before the time when these were executed. 

COOKE, Henry, son of Henry Cooke, who was 
employed by the Ironmongers’ Company, was born 
in 1642. He went to Italy and studied under Sal- 
vator Rosa. He painted the choir of New College 
Chapel, Oxford, the staircase at Ranelagh House, 
and Lord Carlisle’s House in Soho Square. Hedied 
in 1700, It is said that he committed a murder and 
fled from England; and that after his return, he 
was employed by King William to “repair” the 
Cartoons of Raphael. He finished the portrait of 
Charles II. at Chelsea Hospital; and also tried 
portrait painting, but gave it up. 

COOKE, Witi1Am BERNARD, a _ line-engraver, 
and a pupil of Angus, was born in 1778. He 
was the elder brother of George Cooke. He suc- 
ceeded best in marine subjects, but never attained 
any great eminence. He published conjointly 
ye brother ‘ The Thames’ and ‘ The Southern 

324 


Coast of England.’ His death occurred in 


1855. . 
COOKE, WIL1L1AM JoHN, was born in Dublin in 
1797, but his parents left Ireland when he was a 
year old. He was a pupil of his uncle, George 
Cooke, and in 1826 received from the Society of 
Arts a gold medal for improvements in engraving 
upon steel. About 1840 he left England and went 
to reside at Darmstadt, where he died in 1865. 
His best plates are those after Turner of ‘ Notting- 
ham’ and ‘Plymouth’ in the ‘Views in England 
and Wales,’ and ‘ Newark Castle’ in Scott’s Poetical 
Works. 

COOL, JAN Darmen, of Rotterdam, is a painter 
of whom but little is known. In 1614, he was ad- 
mitted into the Guild of St. Luke at Delft; but by 
1618 he had returned to Rotterdam, and in 1623 he 
married Lysbeth, the widow of the painter Lowys 
Percelles. In 1652 the governors of the “Old 
Men’s Home”’ at Rotterdam agreed to receive him 
into the institution on condition of his paying a 
sum of 1225 florins and painting a picture repre-- 
senting them assembled together. Cool died there 
in 1660, and was buried in the church of the insti- 
tution. The work, which he executed in accord- 
ance with the agreement, is the only one known to 
be by him; and it is only lately that it has been 
given to its true author. Lamme ascribed it to Aart 
Mytens; Birger gave it to Jacob Backer ; and it is 
attributed to Daniel Mytens, the elder, by the 
catalogue, of 1867, of the Rotterdam Museum, 
where it has been since its removal from the Old 
Men’s Home in 1849, It is dated 1653, and repre- 
sents ‘ Five Governors, clothed in black, ranged 
round a table.’ (See Obreen’s ‘Archief voor 
Nederlandsche Kunstgeschiedenis,’ vol. I.) 

COOL, PierErR, a Flemish engraver, flourished 
about the year 1690. His name is affixed to a 
middling-sized upright plate, representing Christ 
bearing the Cross, with St. Veronica and other 
figures, after Martin De Vos. Itis executed entirely 
with the graver, in a coarse, stiff style. 

COOL, Taomas Simon, a Dutch historical and 
genre painter, was born at the Hague in 1831. He 
studied at the Hague Academy under J. E. J. van 
den Berg, and first distinguished himself by his 
‘Atala,’ exhibited in 1853. He resided in Paris 
from 1857 to 1860, and in Antwerp from 1861 to 
1865. He died at Dordrecht in 1870, 

COOPER, AxsraHamM, was born in London in 
1787, His father was a tobacconist, who afterwards 
kept an inn at Holloway, but being unfortunate in 
business, his son was early left to his own resources. 
For some time he was employed in the mimic 
battles and pageants at Astley’s theatre, then under 
the management of his uncle Davis. He employed 
much of his leisure time in making sketches of 
dogs and horses, and in 1809, without any instruc- 
tion, succeeded in painting a favourite horse he- 
longing to Sir Henry Meux so successfully that 
that gentleman purchased it, and was ever after- 
wards a liberal patron of the artist. He soon met 
with further encouragement as a painter of horses, 
from the Dukes of Grafton, Bedford, and Marl- 
borough, and others of the sporting nobility and 
gentry, and many of his works were engraved in 
the ‘Sporting Magazine.’ In 1816 he was awarded 
a premium of 150 guineas by the British Institution 
(where he first exhibited in 1812) for a picture of 
the ‘Battle of Waterloo.’ In 1817 he was elected 
an Associate of the Royal Academy; in 1819 he 
exhibited a fine picture of ‘ Marston Moor’; and in 


1820 became an Academician. From that time he 
‘was a constant exhibitor of pictures, generally of 
small dimensions, representing groups of horses and 
animals, field-sports, battle-scenes in the olden time, 
__~&e,; a grey horse being avery favourite feature in 
them, Latterly his works began to betray too 
_ manifestly an amount of mannerism and weakness 

__-which could not but detract from the reputation 
_—-_—s acquired by him in his earlier days. In 1862, 
_ following the example of Sir Robert Smirke, the 
architect, he resigned the rank of Royal Academi- 
cian, He died at Greenwich on Christmas Eve in 
1868. Asmight have been expected, there was but 
little variation in the types of his subjects and the 
character of their treatment. The following are 
some of his best works: 

A Donkey and a Spaniel. 1818. At South 
_ A Grey Horse at a Stable Door. 1818. eee iten. 
_ The Pride of the Desert. 

The Arab Sheik. 

The Dead Trooper. 
_ Hawking in the Olden Times, 

Battle of Bosworth Field. 
Battle of Naseby. 
Richard I. and Saladin at the Battle of Ascalon. 
Bothwell’s seizure of Mary, Queen of Scots. 


COOPER, ALEXANDER, who flourished about the 

middle of the 17th century, was the elder brother 

_- of Samuel Cooper, and was a scholar of his uncle 

Hoskins. Although greatly inferior to his brother, 

4 he painted portraits, both in oil and in miniature, 

with some reputation. He also succeeded in paint- 

ing landscapes in water-colours. Not meeting with 
>: the encouragement he expected, he went to Flan- 
____ ders, where he passed some time, and afterwards 
‘a visited Sweden, where he was made painter to 
Queen Christina. 
-—--—~—S COOPER, Epwarp, a portrait painter, likewise 
Ee engraved after Albani and Kneller. A _ portrait 
bs painted and engraved by him bears date 1779, but 
, the date of his death is not known. 
COOPER, Ricuarp, an engraver of portraits, is 
> __ known chiefly as the master of Sir Robert Strange, 
:. who was apprenticed to him for six years. He 
' was born in Yorkshire about 1705, but went early 
Le in life to Edinburgh, where he died in 1764. 
a COOPER, RicHArD, an English line-engraver, was 
‘a porn in London about 1730, and died there in 1820. 
i= He studied the art of engraving in Paris under Le 
a: Bas. His plates are chiefly portraits, of which the 
following are the principal: 
The Children of Charles I., with a Dog; after Van 
Dyck. 1762. 
tf Henrietta Maria, Queen of Charles I. 
William III. and Queen Mary. 
Frederick, Prince of Wales, and his sisters. 
Francis Bacon, Viscount St. Alban’s. 
William Shakespeare; from the Chandos picture in the 
National Portrait Gallery. 

Thomas Wentworth, Earl of Strafford. 

George, Lord Jeffreys, Chief Justice of the King’s 
Bench and Lord High Chancellor. 

Sir John Napier, inventor of Logarithms. 

Allan Ramsay, Scotch poet. 

Andrew Allen, painter. 

The ‘ Chapeau de Paille;’ after Rubens. 

_ Rembrandt’s Mistress. 1777. 

The Virgin and Infant; after Correggio. 1763. 

The Maries and the Dead Christ ; after A. Carracci. 


| COOPER, Ricuarp, said to have been a native 
of London, the son of the engraver of the same 

| name, was a landscape painter of some merit. At 
| the end of the 18th century he went to Italy, where 
he studied the works of the old masters. On his 


Pie te 


3 
} 
‘ 
. | 
f 
i 


PAINTERS AND ENGRAVERS. 


return he lived for some time in Edinburgh, but 
subsequently settled in London, In 1800, and the 
following year, he exhibited at the Academy ‘ The 
Ruins of Vespasian’s Amphitheatre, in Rome,’ 
‘ Landscape with Banditti,’ and other views. He 
was at this time drawing-master at Eton College, 
and tutor to the Princess Charlotte, He died about 
1810. Two water-colour drawings by him are in 
the South Kensington Museum, 

COOPER, Rozert, of whom little is known, 
engraved several of the heads in Lodge’s Portraits 
and some of the portrait. illustrations to Scott’s 
Novels. He exhibited in 1821, and was living 
in 1836. 

COOPER, SamvEt, the eminent miniature painter, 
was born in London in 1609, and, with his brother 
Alexander Cooper, was instructed in the art by his 
uncle Hoskins, whom he soon surpassed. He was 
the first artist of his country who gave a strength 
and freedom to miniature, which approached to 
the vigour of oil-painting. The purity of his tints, 
the beauty of his carnations, and his loose and 
flowing manner of painting the hair, render the 
heads of his portrait models worthy of imitation; 
but to the head his merit is almost entirely confined. 
When he ventured to express more of the figure, 
his drawing is defective, and his execution unde- 
termined, According to Lord Orford, Cooper 
visited the court of France, where he painted 
several pictures, for which his widow received a 
pension during her life. The works of Cooper 
were deservedly admired in his lifetime, and they 
are still placed with distinction in the cabinets of col- 
lectors. He died in London in 1672, and was buried 
in Old St. Pancras Church. Cooper painted some 
of the most illustrious men of his time; particu- 
larly Oliver Cromwell and John Milton, portraits of 
whom are now in the possession of the Duke of 
Buccleuch, He also painted Charles II., his Queen, 
and many of the celebrities of their court. It was 
for the court of England that Cooper painted the 
pictures for which his widow was promised a pen- 
sion, which was never paid. This widow was sister 
to the mother of Alexander Pope. 

COOPER, Tuomas Srpney, R.A., was born at 
Canterbury on September 26, 1803. When a 
mere child he displayed a marked interest in art, 
but his father’s means being insufficient to provide 
him with the necessary training, he became 
assistant, at the age of twelve, to a coach-painter, 
an occupation which he later combined with scene- 
painting, pursuing both for some eight years, while 
he devoted all his scanty leisure to drawing and 
painting from nature, In 1823 he went to London, 
where, after he had worked for a time at the British 
Museum, he became a student at the Royal 
Academy, returning later to Canterbury and 
supporting himself there by giving lessons and by 
the sale of his works. In 1827 he removed to 
Brussels, where he married, and remained till 1831, 
when he came to settle in London. His first 
appearance as an exhibitor at the Royal Academy 
was in 1833, and he continued to contribute 
annually, being represented for the last time by 
four canvases in 1902 after his death, which 
occurred at Canterbury on February 7th of that 
year. He was elected an Associate of the Academy 
in 1845, and an Academician twenty-two years 


‘later. He made his chief successes in cattle- 


pieces, and so popular were these that he paid the 

penalty of becoming an especial prey of the 

picture-forgers, and had in later years to repudiate 
325 


A BIOGRAPHICAL DICTIONARY OF 8s” 


a large number of examples of their handiwork 
submitted to his judgment. Inhis days of prosperity 
he settled near his native town, to which he became 
a constant benefactor, presenting it in 1882 with 
the ‘Sidney Cooper Art Gallery,’ erected on the 
site of the house in which he was born. ‘A 
Summer's Noon’ (1836), ‘ A Group in the Meadows’ 
(1845), ‘The Shepherd’s Sabbath’ (1866), ‘The 
Monarch of the Meadows’ (1873), and ‘Separated, 
but not Divorced’ (1874), are a few of his most 
important pictures, MB. 

COOPSE, PizTer, (or Coors,) a Dutch painter of 
marine subjects and landscapes, in the manner of 
Bakhuisen and Van de Velde, flourished about the 
year 1672. His pictures are generally of a small 
size, well composed, full of subject, and vigorously 
painted. There is a picture by him in the Gallery 
at Munich, which is attributed to Bakhuisen in the 
catalogue, though the name may be discovered on 
it: in England the dealers are more cautious ; they 
remove it. Ploos van Amstel and others have 
given facsimiles of some of his drawings ; but it 
is only recently that his own countrymen have 
discovered his merit as a painter in oil. 

COORNHAERT. See CuERENHERT. 

COORTE, A. 8., who flourished in Holland about 
1700, excelled as a painter of fruit and flowers. 
His works are rarely to be met with. 

COOSEMANS, Aart, a painter of flowers, fruit, 
and inanimate subjects, flourished in the Nether- 
lands about 1630, Fruit subjects by him are in 
the Augsburg Gallery and the Belvedere at Vienna. 
In the Madrid Gallery there is a fruit-piece attri- 
buted to a J. D. CoosEmAN, who is said to have 
flourished in the Netherlands in the 17th century: 
and in the Bordeaux Museum, a fruit-piece ascribed 
to a N. CoosmaAn, 

COOTWYCK. See Koorwycx. 

COPE, Cuartes West, R.A., the son of a 
painter in water-colours, was born at Leeds in 
1811, and educated at the Grammar School of that 
town. He went to London in 1826, and after 
attending an art school in Bloomsbury under the 
superintendence of Mr. Sass, became a student at 
the Royal Academy in 1828. Leaving this in 1831 
he went to Paris for six months, most of which 
was spent in copying pictures in the Louvre. Two 
years later, in 1833, his first exhibited picture, 
‘The Golden Age,’ was accepted at the Academy. 
Soon afterwards he went to Italy, and, dividing 
his time between Rome, Naples, Florence, and 
Venice, remained there two years, studying the 
works of the old masters, and producing pictures 
of his own, one of which, ‘ Mother and Child,’ was 
exhibited at the British Institution in 1836, while 
others appeared at the Academy the same year. 
Taking part in the competition for the decoration 
of the Houses of Parliament, he won, in 1843, a 
prize of £300 for a cartoon of ‘Trial by Jury,’ and 
in the next year obtained a commission to paint a 
fresco of ‘ Edward III. investing the Black Prince 
with the Order of the Garter,’ which was followed 
by a second of ‘ Prince Henry acknowledging the 
authority of Judge Gascoigne’ and ‘ Griselda’s first 
trial of Patience.’ He was elected an Associate of 
the Royal Academy in 1843, and an Academician 
in 1848. In 1883 he retired, and died at Bourne- 
mouth on August 21, 1890. His work was 
essentially academical, and he confined himself to 
those sacred, historical, literary or domestic 
subjects which were the fashion of his early days. 
Of the first are ‘Hagar and Ishmael’ (1836), and 


326 


‘Cardinal Wolsey arriving at Leicester Abbey’ © 


As 
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ae 
A 


‘The disciples at Emmaus’ (1868); of the eetohd 


(1848), and ‘The Pilgrim Fathers’ (1857) ; of the - 
third, ‘ King Lear’ (1850), and ‘ Othello’ (1868) ; of — 
the fourth and most popular, ‘Beneficence’ (1840), _ 
and ‘Baby’s turn’ (1854). The former, with 
several other of his pictures, is in the Victoriaand 
Albert Museum. MiB 

COPIA, Jacquzs Louts, a French engraver, was _ 
born at Landau in 1764 He went to Paris, and 
among other plates executed a charming little por- _ 
trait of Queen Marie Antoinette, after Piauger, 
which is very rare. He also engraved a head of 
Marat, terribly startling in its ghastliness, froma 
drawing made by David immediately after his 
assassination. But Copia is chiefly identified with 
Prud’hon, the voluptuous genius of whose works no _ 
one has more fully comprehended. It must, how- — 
ever, be admitted that, apart fromthe great painter, _ 
Copia would have remained hidden in the crowd. 
His style was neither original nor brilliant, and his 
rare qualities of modelling and softness of execu- _ 
tion required works suitable for their display. He 
died in Paris in 1799, unfortunately too early tobe __ 
able to engrave the greatest works of his friend, _ 
But among other pupils he left one, Roger, who 
caught his manner, and is thought by many to 
have surpassed his master in the interpretation of 
the spirit of Prud’hon. a 

The following are the works of Prud’hon which 
have been engraved by Copia: : 


The French Constitution. 

Equality, and Law ; two small bas-reliefs from the pre- 
ceding composition. 

Liberty. 

The Revenge of ‘Ceres. 

Love brought to reason. . 7" 

Love laughing at the tears.which he has caused to 
flow ; a companion to the preceding. a 

En Jouir; an illustration to Gentil-Bernard’s ‘ Art 
d’ Aimer,’ Didot’s edition, 1797. 

The First Kiss of Love ; and four other illustrations to. bh 
Rousseau’s ‘Nouvelle Héloise,’ Bossange’s edition, a 


1808, 
R. E. G. 


COPLEY, JoHN SINGLETON, was born of English 
and Irish parentage at Boston in Massachusetts, in 
1737. He was most probably taught the rudiments 
of his art by his step-father, Peter Pelham, a por- 
trait painter and mezzotint engraver, whom Mrs. 
Copley had married after her first husband’s death. 
In 1753, when he was only sixteen years of age,he — 
painted and also engraved a portrait of the Rev. __ 
William Welsteed of Boston. His success soon 
became assured, and he received commissions to _ 
execute portraits of many distinguished persons of __ 
the day. About 1774 he painted the ‘Boy witha __ 
Squirrel’ (a portrait of his half-brother, Henry 
Pelham), which he sent to England, and which was 
exhibited anonymously at the Royal Academy. In 
consequence of the favour with which it was re- 
ceived Copley was advised to come to England, 
and he quitted America in the early part of 1774, 
never to return. From England he crossed to the 
continent and studied assiduously—particularly at 
Parma and at Rome—and soon after his return to 
London was elected an Associate of the Royal, 
Academy in 1776, and an Academician in 1779. 
Whilst still in Boston (in 1767) he had been elected 
a Fellow of the Society of Artists in Great Britain. 
He painted several very interesting pictures relating 
to events in English History, but those which he 
exhibited at the Royal Academy were chiefly por- 


he 
om a 


traits. He was a great 


: ‘ painter among the English 
artists of his day, and 


is not to be judged by the 


; Poe standard ; being, in a manner, self-taught, 


‘received academical instruction. 


e achieved much more than many who had 
He lived, from 


the time he settled in England, at a house in 


George Street, Hanover Square, where he died in 


1815, and where his son, Lord Lyndhurst, also lived 


and died in 1864. Copley was buried in Croydon 


church. The following are some of his principal 


_ works: but many important portraits and sketches, 


including his last portrait of himself, were destroyed 
by the great fire at Boston in 1872. 


The Death of Lord Chatham (painted in 1119-80; in 
the National Gallery, where are also monochrome studies 

meer the picture). 

& om of Major Peirson (in the National Gallery). 

The Siege and Relief of Gibraltar (at Guildhall: a 
study for this picture is in the National Gallery ; and 
vartous sketches for it are in the South Kensington 
Museum). 

The Princesses Mary, Sophia, and Amelia, daughters of 
George III. (at Buckingham Palace). 

Samuel and Eli. (Destroyed by jire at Mr. Graves’s in 
Pall Mall, in 1867.) 

Charles I. ordering the arrest of Five Members of the 
House of Commons. 

The Five Impeached Members brought back in triumph 

_ to Westminster. 

The Speaker thanking the Sheriffs for protecting the 
impeached members. 

The Dukes of Suffolk and Northumberland offering to 
Lady Jane Grey the Crown of England (exhibited at 
the Royal Academy in 1808; now in the possession of 
Mr. Amory of Boston). 

Resurrection of our Lord (exhibited at the Royal Academy 
tn 1812: his last exhibited work). 

The Battle of the Boyne. 

The Assassination of the Duke of Buckingham. 

Charles I. signing the death-warrant of the ‘Earl of 
Strafford. 

The King’s Escape from Hampton Court. 

The House of Commons visiting the Army at Hounslow. 

A Conversation. 1776. 

The Copley Family (en the possession of Mr. Amory of 
Boston). 

A Boy attacked by a Shark. 1778. 

Portrait of Lord Heathfield (at Gutldhall: a study vs in 

___ the National Portrait Gallery). 

Portrait of the Earl of Mansfield (in the National 

Portrait Gallery). 1783. 


A ‘Sketch of the Life and a List of some of the 
Works of John Singleton Copley,’ by A. T. Perkins, 
was privately printed at Boston in 1873. 

COPPA, Antonio, See G1aRoLa. 

COPPA, STEFANO, was a native of Italy, and 
flourished at Rome about the year 1776. In con- 
junction with Giuseppe Perini, he executed the 
plates from the antique statues in the Clementine 
Gallery. He also engraved a print of the Ascen- 
sion, after Giovanni Lanfranco. 

COPPENS, Aveustinus, a Flemish landscape 
painter and engraver, was a native of Brussels, 
where he was received into the Guild of St. Luke 
in 1698. He engraved some plates representing 
views of ruins, and architecture, which are executed 
in a neat, finished style. 

COPPI, Giacomo, called DEL Mzctio, a Florentine 
historical painter, was born at Peretola in 1523. 
He studied under Vasari, and worked with him at 
Florence, where he died in 1591, His own portrait 
by himself is in the Uffizi. 

COPPIN. See Dztr. 

COPPO p1 MARCOVALDO. See Marcova.po. 

COQUERET, Pierre CHARLES, a French en- 
graver, was born in Paris in 1761, but the date 


‘ 


PAINTERS AND ENGRAVERS. 


| of his death is not recorded. He studied under 


Janinet, and produced a large number of beautiful 
works. Besides whole-length portraits of Mar- 
shals Masséna and Jourdan, and General Pichegru, 
after Hilaire Le Dru, as well as several plates for 
Desnoyer’s ‘ Recueil d’Estampes,’ may be men- 
tioned : 

Junius Brutus condemning his Sons; after Lethieére. 

The Death of Virginia ; after the same. 

The Ninth Thermidor ; a frieze; after the same. 

An Interior ; after Carle Vernet. 

A Hunting Scene; after the same. 

A Portrait; after Boucher. 


COQUES, Gonzaues. See Cocx. | 

COQUIN, Louis, called Cossin, was a French 
painter and line-engraver, who was born at Troyes 
in 1627, and died in Paris after 1686. We have 
by him some portraits, and a few subjects after 
various masters, executed with the graver in a 
style that has not much to recommend it. This 
artist has signed his plates Coguin, Cauquin, 
Cossinus, and Cossin. He assisted Collet in 
producing the ‘Book of Goldsmiths’ Designs’ 
published in 1663, his plates being marked LZ. C. 
The following engravings are by him: 


PORTRAITS. 
Louis XV., King of France ; life-size. 
Valentin Conrart, of the French Academy; after C. 


Le Fevre. 


‘Francois Chauveau, engraver ; after Le Febure. 
Carl Johann, Count von Konigsmark ; after Dahl. 
SUBJECTS AFTER VARIOUS MASTERS. 

The Virgin Mary: after Lebrun. 

St. John the Evangelist suspended over a Cauldron of 

boiling Oil; after the same. 

The Stoning of St. Paul at Lystra; after J. B. de 

Champaigne. 

The School of Athens ; after Raphael. 

CORBAUX, Fanny, water-colour painter, was 
born in 1812. In 1827, after being self-taught, she 
gained the silver medal of the Society of Arts, and 
in 1830 the gold medal. She was the same year 
elected an honorary member of the Society of 
British Artists, and in 1839 a member of the 
Institute of Painters in Water-Colours. She was 
further known as a student of and writer on 
Oriental subjects and biblical exegesis, and was 
granted a Civil List pension. She died at Brighton, 
February 1, 1883. 

CORBET, Marruew RIDLEY, was born at South 
Willingham, Lincolnshire, in 1850. After studying 
at the Slade School he joined the schools of the 
Royal Academy and started painting portraits. 
Having spent three years in Rome under the 
tuition of Signor Giovanni Costa, he devoted his 
attention entirely to the painting of landscape, 
particularly of Italian scenery. He exhibited first 
in London in 1871 at the Grosvenor Gallery and 
afterwards at the New Gallery, and for the first 
time in 1884 exhibited at the Royal Academy two 
pictures entitled ‘Morning Glory’ and ‘Arno in 
Flood.’ Five years later at the Paris Exhibition 
of 1889 he gained a bronze medal for bis ‘Sunrise.’ 
In the same year ‘Morning,’ an English landscape, 
and in 1901 ‘Val d’Arno,’ a scene in Italy, were 
purchased under the terms of the Chantrey 
Bequest. Among his other pictures were ‘ Autumn 
Rains’ and ‘ Passing Storm’ (1896), ‘Carrara 
Mountains’ (1897), ‘Florence in Spring’ (1898), 
‘The Dead Knight’ (1899), and ‘Sunrise’ (1902). 
Corbet, who was made an Associate of the Royal 
Academy in 1902, died in London the same year, 
a few months after his election. H,C.8. 


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A BIOGRAPHICAL DICTIONARY OF 


CORBETT, —a native of Cork, was a pupil of 
James Barry, R.A. He practised portrait painting 
in London, but afterwards returned to Cork where 
he met with some success. He died in 1815. 

CORBOULD, Grorcs Jamezs, the second son of 

Richard Corbould, was born in 1786. He was 
apprenticed to James Heath, the celebrated line- 
engraver, and followed in his steps. He died in 
1846. 
CORBOULD, Henry, the third son of Richard 
Corbould, was born in London in 1787. He studied 
painting with his father, and was at an early age 
admitted as a student of the Royal Academy, under 
Fuseli, where he gained the silver medal for a study 
from the life. While at the Academy he made the 
friendship of Flaxman, Stothard, West, Chantrey, 
and Westmacott. He several times sat as a model 
to West, in whose picture of ‘Christ Rejected ’ his 
head was painted for that of St. John; as also in 
that of ‘Christ Healing the Sick in the Temple,’ in 
the National Gallery. In 1808 he exhibited a 
painting of ‘ Coriolanus’; in the following year 
‘The Parting of Hector and Andromache,’ and 
‘Thetis comforting Achilles,’ &c.; but his name 
has been comparatively little before the public 
except as a designer for books, his time having 
been almost entirely occupied in making drawings 
from ancient marbles in the possession of various 
English noblemen. Those of the Woburn Abbey 
Marbles, made for the Duke of Bedford, were en- 
graved, but only circulated among a few of his 
Grace’s private friends, This was also the case with 
those executed for the Earl of Egremont. The 
vast collection of ‘ Ancient Marbles’ in the British 
Museum, upon which he was engaged for about 
thirty years, was in course of publication at the 
time of his death. He was also occasionally em- 
ployed in making drawings for the Dilettanti and 
Antiquarian Societies, of which he was a member, 
He was devotedly attached to art, and was sur- 
passed by few in professional knowledge; no 
painter of his time was more thoroughly ac- 
quainted with drawing; and his copies from the 
antique may be referred to as models of accuracy 
and truth, Nor was he by any means without 
fancy and invention: some of his book illustrations 
are among the most graceful and effective pro 
ductions of the age; and few designers ever more 
completely entered into the spirit of the author. 
He died at Robertsbridge, in 1844, of an attack of 
apoplexy, supposed to have been brought on by 
exposure to cold. 

CORBOULD, RicHarp, who was born in London 
in 1757, was a painter, in oil and water-colour, of 
portraits, landscape, and occasionally history; of 
porcelain, and miniatures on ivory, and enamels; 
and was furthermore an illustrator of books, and 
an imitator of the old masters. From 1777 to 1811 
he was a constant contributor to the Royal Aca- 
demy. He died at Highgatein 1831. Of his works 
exhibited at the Royal Academy may be noticed : 

1793. Cottagers gathering Sticks. 

1802. Eve caressing Adam’s Flock. 

» The Archangel Michael. 


1806. Ulysses’s Descent into Hades. 
1806. View at Hampstead. (At South Kensington.) 


CORBUTT, C. See Purcett, RicHarp. 

CORDELLE AGI, AnpreA, (CoRDEGLIAGHI, or 
CoRDELLA,) who sometimes signed himself AN- 
DREAS BERGOMENSIS, came to Venice at the close 
of the 15th century, and for several years studied 
aes ae yk Giovanni Bellini; he then settled at 


Bergamo, and about 1515, when painting the grea 
altar-piece at San Spirito, of St. John the Baptist 
and other saints, assumed the title of PREVITALI, 
The earliest known painting by him is a votive 
Madonna, now belonging to Count Ferdinando 


Cavalli, of Padua, dated 1502. Ridolfi mentions 
an ‘ Annunciation’ at Ceneda by him, that Titian __ 
regarded as one of the ablest productions of the __ 


period at which he lived. The late Sir Charles 
Eastlake possessed a ‘ Marriage of St. Catharine,’ 


dated by him 1504. He died of the plague in a 
1528. Many of the churches of Bergamo possess 


paintings by this master, as do also certain of the 
public and private collections of Venice. 
further note: 

. A Madonna and Child 
London. National Gallery. with Monk. ? 
Venice. Sir A. Layard’s Coll, Ecce Homo. 


CORDES, WILHELM, a landscape painter, was 


born at Litbeck in 1824, and died in 1869 at _ 


Weimar, where he was professor at the school of 
arts. A ‘Park in Winter,’ and ‘ Hunting the Wild 
Game,’ are two of his productions. 

CORDIER, Niconas, called FRANCIOSINO, a 
French sculptor, painter, and engraver, was born 
in Lorraine in 1567. Whilst still young he went 
to Rome, and became a pupil of Michelangelo. 
After having painted several pictures of merit, and 
engraved on wood, he devoted himself to sculpture, 
and acquired a great reputation. His principal 
works at Rome are the statues of David, Aaron, St, 
Bernard, and St, Athanasius, in the Basilica of Santa 
Maria Maggiore, the colossal bronze figure of Henry 
IV. of France at San Giovanni in Laterano, and 
the statues of St. Sylvia and St. Gregory, the latter 
said to have been begun by Michelangelo, in the 
church of St. Gregory. He died at Rome in 1612. 

CORDIER, Rosert, a French engraver, estab- 
lished at Madrid in 1629. In 1653 he executed 
the title-page and 100 small plates for Solorzano’s 
‘Emblemata,’ On the top of the title-page, sup- 
ported by figures of Faith and Religion, heir- 
looms of the Catholic monarchy, Philip IV. of 
Spain sits enthroned in all his habitual gravity, 
using the world, upheld by Atlas, as his footstool. 

CORDIER, V., a French engraver, was a native 
of Abbeville, and flourished about the year 1760. 
His name is affixed to a plate representing a fountain, 
from a design of G. M. Dumont. 

CORDOVA, PEDRO DE, who was born at Cor- 
dova, was the founder of the renowned school of 
that city. He was instructed in his art by Alexo 
Fernandes. An ‘Annunciation’ by him, painted 
in 1475, is still in the cathedral of Cordova. 

CORDUBA, FRanczsco, was an Italian engraver, 
by whom we have a set of plates of the principal 
fountains which are in the gardens at Rome, into 
which he has introduced several small figures, in 
the style of Callot. They are etched with con- 
siderable spirit. 

CORENZIO, Brtisario, was a native of Greece, 
born, according to Dominici, in the province of 
Achaia, in 1558. He was instructed in the rudi- 
ments of the art by an unknown painter, who was 
so loud in his praise of the Venetian artists, that 
Belisario burned with impatience to visit Venice, 
that he might be benefited by the contemplation 
of those extraordinary productions, of which the 
description had so much excited his curiosity. He 
accordingly went to Venice in 1580, when he was 
twenty-two years of age, and became a disciple of 
Tintoretto. After passing five years at Venice, he 


We | 


4 


settled at Naples, wnere his jealousy was the cause 


of the ill-treatment which foreign artists had to 
endure. Domenichino especially suffered fearful 
persecution through his vindictiveness. He painted 
a few pictures in oil, but his power seems to have 
been better adapted to subjects that require to be 
executed in fresco, in which he is bold, varied, and 
occasionally beautiful and correct. His principal 
works at Naples were ‘The Miracle of the Loaves 
and Fishes,’ painted in forty days for the Refectory 
of San Severino, and frescoes for the churches of 
San Patrizio, San Paolo Maggiore, San Marcellino, 
San Martino, and Sant’ Annunziata. He died at 
Naples in 1643. 

ORIOLANO, Barrotommeo, who is thought 
to have been the grandson of Cristoforo Corio- 
lano, was born at Bologna in 1599. He was 
first instructed by his father, but afterwards 
entered the school of Guido Reni, where he be- 
came an able designer and engraver on wood. He 
usually made use of two blocks for his woodcuts ; 
on one he cut the outline and the dark shadows, 
like the hatchings of a pen, and on the other 
block the demi-tints ; these he managed with great 
judgment, and his prints have a fine effect. His 
drawing is masterly and spirited, and his heads of 
a fine expression, characteristic of the great school 
in which he was educated. He worked at Bologna 


_ from 1630 to 1647, and was fond of developing the 


designs of Guido and Guercino. He dedicated a 
set of his prints after Carracci, Guido, &c. to Urban 
VIII., who recompensed him with the order of 
knighthood of Loreto, and a pension. He died in 
1676. There are a few of his cuts executed in 


_ chiaroscuro, in which he used three blocks, which 


are signed with BC. sc.; BC. EQ. SC.,; and 
BART. COR. EQUES. F. The following are 


good examples of this master: 


St. J ame in meditation before a Crucifix ; after Guido 
1637. 

Herodias, with the Head of St. John the Baptist; after 
the same. 

The Virgin, with the Infant sleeping; after the same: 
in chiaroscuro. 

The Virgin and Infant Jesus, with St. John the Baptist ; 

_ after the same: in chiaroscuro, 

The Four Sibyls; after the same. 

The Virgin and Infant sleeping ; after F. Vanni. 

Peace and Abundance; after Guido. 1642. 

Jupiter hurling bolts at the Giants ; after the same ; on 
four sheets. 1647. 

The Seven Ages, transported to Bologna; a Thesis. 


THERESA Maria Cori0Lano, his daughter, was in- 
structed in painting by Elisabetta Sirani, and in 
engraving by her father. She etched asmall plate 
of the Virgin, half-length, with the Infant Jesus. 
CORIOLANO, Cristororo, was a German en- 
graver, born at Nuremberg in 1540. Heinecken 
states that the family name of this artist was LrE- 
DERER, which he exchanged in Italy for that of 
Coriolano. He engraved on wood, and was a very 
able artist. In the Life of Marc-Antonio, Vasari 
assures us that ‘ Maestro Cristofano,’ after executing 
at Venice an infinite number of fine things, engraved 
on wood the portraits of the painters, sculptors, 
and architects, after Vasari’s designs, for his ‘ Lives 
of the Painters,’ first published in 1568. They 
are very masterly performances, but Zani considers 
them to be the work of Christoph Chrieger. He 
also engraved the greater part of the figures in the 
‘Ornithology’ of Ulisse Aldrovandi. He died at 
Venice in the beginning of the 17th century. 
CORIOLANO, Giovanni Barista, is believed to 


PAINTERS AND ENGRAVERS. 


have been the son of Cristoforo Coriolano; he was 
born at Bologna in the year 1590, and died there 
in 1649. He studied painting under Giovanni 
Lodovico Valesio, but did not distinguish himself 
much as a painter, although he was employed for 
some of the churches at Bologna. In Santa Anna 
are two pictures of St. Nicholas, and St. Bruno; 
and in the Nunziata an altar-piece of St. John, St. 
James, and St. Bernard. As an engraver, he is 
entitled to more consideration. He worked both on 
wood and on copper; but his woodcuts are greatly 
preferable to his engravings. Those in chiaroscuro 
are dated from 1619 to 1625. Among his best 
works, which resemble in style those of F. Villa- 
mena, are the following: 


PORTRAITS, f 
Vincenzo Sgualdi. 
Fortunius Licetus. 
The same Portrait: a woodcut. 
Joannes Cottunius. 


SUBJECTS AFTER VARIOUS MASTERS. 

The Image of the Virgin; J. B. Coriolanus, sc. 

The miraculous Image of the Virgin, painted by St. 
Luke, held by three angels ; after Guzdo. 

The Virgin and Child, and St. John ; after A. Tiarini. 

Christ crowned with Thorns ; etched in imitation of a 
woodcut; after L. Carracct ; fine. 

Cupid sleeping ; in chiaroscuro ; after Guido. 

Triumphal Arch in honour of Louis XIII.; Zi Corio- 
lano, fec. 

Twenty-seven plates for the ‘Emblemata’ of Paolo 
Maccio; the entire work consists of eighty-three 
plates ; the rest being by O. Gatti and A. Parasina. 


He also engraved a number of theses and frontis- 
pieces. His plates were signed with his full name, 
or B. C.F. ; Cor ; or Corio. 

CORKOLE, Avaustz, a Belgian genre painter, 
was born at Ghent in 1822, and died in that city 
in 1875. 

CORNARA, Caro, was born at Milan in 1605, 
and became a scholar of Camillo Procaccini. He 
did not produce many works, but they were de- 
signed with an excellent taste, particularly his 
easel pictures, which were highly esteemed. One 
of the best of his public works is his picture of St. 
Benedict at the Certosa at Pavia. He died in 1673. 

CORNEILLE, Ciaupn, a French painter and 
engraver, was a native of Lyons, who, during the 
reigns of Francis I]., Henry I1., Francis II., and 
Charles IX., enjoyed a great reputation for his 
portraits. They are usually of small size, and 
very pale in colour, and are often attributed to 
Jannet. Brantéme, in his ‘Mémoires,’ mentions 
with much praise a picture of Catharine de’ Medici 
with her two daughters, and there is in the Lenoir 
collection at Stafford House a portrait of Louise 
Marguerite of Lorraine, Princess of Conty. <A 
portrait of Francis I., attributed to Corneille, is in 
the Louvre. His engravings are slight, and betray 
the hand of a painter. Robert-Dumesnil gives a 
list of them in his ‘ Peintre-Graveur Frangais,’ the 
best known being the 58 portraits of the French 
kings in the ‘ Epitomes des Roys de France,’ printed 
at Lyons in 1546. Claude Corneille died after 
1576. 

CORNEILLE, Jzan Baptiste, (called CORNEILLE 
LE JEUNE,) was a painter who was born in Paris in 
1649, and died there in 1695. He was a younger 
son of Michel Corneille of Orleans, and was in- 
structed by his father, who sent him to Italy. After 
passing some years at Rome he returned to Paris, 
and was received into the Academy in tsa 


A BIOGRAPHICAL DICTIONARY OF 


picture which he painted for his reception being 
the ‘Punishment of Busiris by Hercules.’ It has 
been engraved by Jean Mariette, and is nowin the 
Louvre. Inferior to his brother in the correctness 
of his design, he was still a reputable painter, and 
gave proof of his talent in several public works at 
Paris. For the cathedral of Notre-Dame he painted 
the ‘Deliverance of St. Peter from Prison,’ which 
has been engraved by B. Picard ; and for the church 
of the Carmelites, ‘ Christ appearing to St. Theresa 
and St. John of the Cross.’ He also engraved 
several plates from his own designs, and some after 
the Carracci. They are etched with great spirit, 
and some of them are finished with the graver. 
The following are his best plates : 


SUBJECTS FROM HIS OWN DESIGNS. 

The Bust of Michelangelo. 5 

Susannah and the Elders. 

St. Augustine in the midst of his Disciples. 

St. Bernard. 

Christ appearing to St. Theresa and St. John. 

The Bust of Monsieur, crowned by Victory. 
Apollo and Cupid; a medallion. 

Apollo and Daphne; the same. 

Mercury in the Air. 

Diana and Calisto. 

SUBJECTS AFTER THE CARRACCI. 

St. John in the Wilderness ; after Annibale Carracct. 

Christ with the Samaritan Woman; after the same. 

Two Landscapes, with St. Francis. 

CORNEILLE, Micuet, a French painter, was 
born at Orleans in 1601. He was a scholar of 
Simon Vouet, in whose style he painted several 
works for the churches, and was one of the twelve 
original members of the Royal Academy at Paris. 
His most celebrated work, ‘St. Paul and St. Barnabas 
at Lystra,’ was painted for the cathedral of Notre- 
Dame, and has been engraved by Poilly. His plates 
were signed with the letters 17. C. He died in 
Paris in 1664. Corneille etched several subjects 
after Raphael, the Carracci, and others; among 
which are the following : 

The Holy Family, with St. Elizabeth; after Raphael. 

The Murder of the Innocents ; after the same. 

Christ appearing to Mary Magdalene ; after the same. 

The Virgin suckling the Infant Jesus; after L. Carracci, 

CORNEILLE, Micust, (called CorNEILLE L’AfNE,) 
a painter, was born in Paris in 1642. He was the 
son of Michel Corneille of Orleans, and studied 
under his father and under Le Brun and Mignard. 
He gained the pension at the Academy, which en- 
abled him to visit Italy; but once there, he soon freed 
himself from the tie in order to study the antique 
inhis own way. The works of the Carracci became 
eventually the model of his choice. On his return 
to France he became a member of the Academy in 
1663, painting for his reception a picture of ‘ Our 
Lord’s appearance to St. Peter after his Resurrec- 
tion,’ and was subsequently employed by the King at 
Versailles, Meudon, and Fontainebleau. He decor- 
ated with frescoes the cupola of the chapel of St. 


Gregory the Great in the Invalides, and painted thef 


‘Calling of St. Peter and St. Andrew’ for the cathes 
dral of Notre-Dame. He also painted a ‘ Hol 
Family’ for the Church of the Feuillants, a ‘ Mas- 
sacre of the Innocents’ for that of the Innocents, 
and a ‘St. Francis’ for the Capuchin church of fhe 
quarter of the Temple. Towards the close of ‘his 
life he had apartments at the Gobelins manufactory, 
and is occasionally spoken of as ‘Corneille ‘des 
Gobelins,” The Louvre has by him a ‘ Repose in 
Egypt,’ and the Bordeaux Museum a ‘ Baptism of 
330 . 


aol 


= Se ea 


niger 


Constantine.’ Hedrew correctly, and his worksare 
remarkable for a careful management of the half- __ 


lights : his heads are not devoid of a certain nobility. 
Simonneau, Tardieu, Sarrabat, Jean Mariette, and 
Audran have engraved after him. He himself 
etched and engraved with a broad, free point up- 
wards of a hundred plates, which show considerable 
taste. He died at the Gobelins in Paris in 1708. 
The following are his principal works: | 


SUBJECTS FROM HIS OWN DESIGNS, 


The Deity appearing to Abraham. 
Abraham journeying with Lot. 
Abraham discomfiting the Army of the confederate 


Kings. 
Abraham setting out with his son Isaac for the Sacrifice. 


[These four plates having come into the possession of a 
printseller at Rome, named Rossi, he put the name 
of Raphael on them; they are now scarce. ] 


Samson and Delilah. 

The Conception of the Virgin. 
The Annunciation ; in two plates. 
The Nativity. 

The Infant Jesus in the Manger. 
The Flight into Egypt. 


The Calling of St. Peter and St. Paul to the Apostleship. 


St. Francis kneeling before the Cross. 
Christ and the Virgin appearing to St. Francis. 


SUBJECTS AFTER VARIOUS MASTERS. 


The Marriage of St. Catharine ; after ZL, Carracci. 

The Virgin and Infant Jesus in a Landscape; after 
Agostino Carracci. 

Jacob wrestling with the Angel, in a Landscape; after 
Annibale Carracct. 

St. John preaching in the Desert; after the same. 

St. Jerome in a Landscape ; after the same. 

St. Francis receiving the Stigmata ; after the same. 

Silenus, a Satyr, and a Faun, in a Landscape ; after the 
same. 

Abraham sending away Hagar; after the same. 


CORNEJO. See Duqus Cornzso. 

CORNELIS, ALBERT. It is not known where 
this master was born or where he learned his art. 
He was admitted as master-painter into the Guild 
of Saint Luke at Bruges between 1492 and 1498, 
and held the office of “ vinder” in 1518-19. He 
died in 1532. He was employed by the magistrates 
of Bruges in 1520 to paint the decorations of the 
streets for the joyous entry of the King of the 
Romans on July 24, 1520. Documents in the 
archives of Bruges shown that he executed many 
paintings, but only one of these is known; the 
‘Coronation of the B. Virgin,’ in the church of 
Saint James at Bruges, 

CORNELIS, Lampert, was a Dutch engraver of 
the latter part of the 16th century, who was chiefly 
employed for the booksellers in engraving portraits. 
He resided for a long time in France. Among 
others, we have by him the portrait of Tycho Brahe, 
the astronomer, and one of his best works is the 

ortrait of Queen Anna of Poland, 1596. 
** CORNELISZ, (or CoRNELISSEN,) CORNELIS, was 


“born at Haarlem in 1562. He was at first a scholar 


of Pieter Pietersz, son of Pieter Ariaensz, but betook 
himself to France when only seventeen years of age. 
On being driven back by the plague he made his 
way to Antwerp, and worked under Frans Porbus 
and Gillis Congnet. He afterwards returned to 


Haarlem, and there, in conjunction with C. van 


Mander, founded an Academy, from which many 
excellent artists were sent out. 
of the Old Men’s Hospital from 1614 to 1619, and 
died at Haarlem in 1637. His paintings comprised 
allegorical, mythological, and historical scenes, to- 


He was Regent — 


eat ‘ 


SS fn - 


oe 
7 


Vienna. 


- churches of 


7. 
va 


_ sed with portraits and flower-pieces. They are 
\ eS 


listinguished especially by careful drawings from 


_ the nude, and accurate foreshortening of the figures. 

- One of his paintings, ‘The Rest upon the Flight 
_ into Egypt,’ he afterwards engraved; and Kilian, 
 Goltzius, Jan Miiller, and others, have reproduced 
many of his works, 


Cornelis Bega was his grand- 
son. The following paintings by him are in public 


galleries: 
Amsterdam. Museum. Massacre of the Innocents. 1590. 
Berlin, Gallery. Bathsheba. 1617. 
Aa 5 An Entertainment. 1618, 
Brunswick. Gallery. The Deluge. 1592. 
* ” The Golden Age. (His chef- - 
@euvre.) 1615. 
Dresden. Gallery. Venus, Apollo, and Ceres. 
- fe _ An Old Man showing a full Purse 
; . to a Girl. 
Hague. Museum. Massacre of the Innocents. 1591. 
, * The Marriage of Peleus and 
f : Thetis. 
- Petersburg. Hermitage. Baptism of Christ. 
a oY i Cimon and Iphigenia. 
Stockholm. Gallery. The Judgment of Paris. 
Gallery, The Dragon devouring the Men 


of Cadmus. 


CORNELISZ, (or CorNELISsSEN,) JACOB, who was 
born at Oost-Zaan in North Holland about 1475- 


1480, was living at Amsterdam in the first quarter 


of the 16th century, and distinguished himself as a 
painter and a designer on wood. He was still 
painting in 1553, and died in Amsterdam at an 
advanced age. He was one of the masters of Jan 
Schoorl. Though he is sometimes defective in the 


nude, his compositions are spirited, his heads ex- 


pressive, and there is a great variety in his figures. 
The greater part of his numerous pictures for the 
olland perished during the Reforma- 
tion. Of his paintings there are preserved: 


Berlin. Gallery. Portrait of a Man with a long 
white beard. 
Cassel. Gallery. The Triumph of Religion. 1523. 
(Falsely ascribed to Jan De 
Mabuse.) 
Hague. Museum. Herodias with the Head of St. 
: Jokn the Baptist. 1524. 
London. Nat. Gal. Portraits of a Dutch Lady and 
Gentleman. 
Munich. Gallery. A Crucifixion. 


To this artist belong the wood-cuts which were 
during the last century ascribed to a certain Jan 
Werner, or Jan Walther van Assen, but which are 
assigned to Jacob Cornelisz in an edition of the 
‘ Historia Christi patientis et morientis,’ dated 1651. 
His wood-cuts, which were as much admired as 
the copper-plates of his contemporary, Lucas van 
Leyden, are, however, so numerous as to preclude 
the idea that he could have done more than make 
the designs. Among the best are: 

' 48 plates of the Passion. 1517. 

6 ,, of the Life of Christ. 

» of Counts and Countesses of Holland on 
Horseback. 

Jesus disputing with the Doctors. 

St. Hubert. 

His son, DirK JAcopsz, was a good portrait 
painter, who died in 1567. 

CORNELISZ, (or CorNELISSEN,) Lucas, called 
Koon (‘the Cook’), was a Dutch painter, born at 
Leyden in 1493. He was the son of Cornelis Engel- 
brechtsen, and was instructed by his father. The 
little encouragement the art experienced at that 
time in his native country, obliged him, for the sup- 
port of a numerous family, to exercise the occupa- 


PAINTERS AND ENGRAVERS. 


tion of a cook, and eventually induced him to visit 
England in the reign of Henry VIII., by whom he 
was employed, and was made painter to the king. 
Van Mander mentions some of the works of this 
master at Leyden, among others, the ‘ Adulteress 
before Christ.’ Of his works in England, the six- 
teen portraits of the Constables of Queenborough 
Castle, at Penshurst, are the most considerable ; 
and though few of them can be original paintings, 
they possess great merit. At Hampton Court there 
are four small female portraits, probably copies, 
attributed to him. He died in England in 1552. 

CORNELIUS, PETER von. This famous German 
painter was born on the 23rd of September, 1783, 
at Diisseldorf, where his father was Inspector of 
the Gallery, an appointment by no means lucrative, 
and scarcely sufficient for the support of his 
numerous family. The disposition of Cornelius 
for the profession of art was evinced at a very 
early age by his drawings in outline of single 
figures, groups, battles, and hunting parties, which 
were pronounced by those who had opportunities 
of seeing his untutored essays to be by no means 
devoid of an intuitive skill in their execution and 
arrangement. Yet the character of his talent was 
questioned, and it was against the advice of friends 
that he was allowed to proceed in his studies at the 
Academy, where he continued drawing industri- 
ously after the antique. Whilst yet a boy he lost 
his father, an event which immediately incited his 
naturally energetic temperament to extraordinary 
exertion, commensurate with the bereavement and 
its threatened consequences. In a letter to Count 
Raczynski, he states :— 

“]T was in my sixteenth year when I lost my 
father, and it fell to the lot of an elder brother and 
myself to watch over the interest of a numerous 
family. It was at this time that it was attempted 
to persuade my mother that it would be better for 
me to devote myself to the trade of a goldsmith 
than continue to pursue painting—in the first place, 
in consequence of the time necessary to qualify me 
for the art; and in the next, because there were 
already so many painters. My dear mother, how- 
ever, rejected all this advice, and I felt myself 
impelled onward by an uncommon enthusiasm, 
to which the confidence of my mother gave new 
strength, which was supported by the continual 
fear that I should be removed from the study of 
the art I loved so much.” 

In the works of this distinguished artist it is 
observed that the study of nature and the technique 
of his art occupy him less than the care of express- 
ing his thoughts in a powerful and characteristic 
manner; and it would often seem that those of his 
figures which are most forcible and elevated in 
style are deficient of vitality, insomuch that we 
might almost say that their life-blood had been 
arrested in its circulation. Force and grandeur are 
abundant elements in the character of his works, 
but we do not, perhaps, perceive in an equal degree 
truth and refined taste. In explanation of this it 
should be observed that a new era had about this 
time commenced in German literature. The prin- 
ciples of Winckelmann, which presented as the soli- 
tary rule the study of the antique, were no longer 
admitted as those alone which could develop skilful 
artists. It was perceived that an overweening love 
of the antique had in a great measure contributed 
to the unintelligible affectations of the French 
school; yet certain schools, and especially that of 
Diisseldorf, pursued the ancient method ; ane ia 


A BIOGRAPHICAL DICTIONARY C OF : 


nelius distinguished himself by his faithful adher- 
ence to it for a length of time. And yet all who 
would essay to reconcile his particular principles 
with those of Winckelmann—who would endeavour 
to place him in opposition to Géthe,—who would 
pronounce him too exclusively under the influence 
of the revival of medizval religious art, and op- 
posed to the study of models and an imitation of 
nature ;—in short, all who would seek to discover 
in Cornelius a constant system, are altogether 
ignorant of the force of the original genius by 
which he was continually swayed. He was, how- 
ever, the fellow-labourer with Overbeck in the 
artistic movement which too much repudiated the 
charms of colour, and made fresco once more 
adopted. The first important works of his youth 
were the decorations of the church of Neuss, an 
attentive examination of which declares a study of 
the works of Raffaelle. At the age of twenty-six 
he produced his compositions from Faust, after 
which, in 1811, he went to Rome, where he became 
one of the brotherhood of painters, amongst whom 
was Overbeck, whose particular friend he was, in- 
somuch that the King of Bavaria associated them 
in a comparison to St. John and St. Paul. They 
dwelt together in an old convent, labouring from 
morning to night, with a mutual understanding that 


each should pronounce in sincerity on the produc- | 


tions of the other. Cornelius was one of those 
artists engaged in the decoration of the Villa 
Bartoldi, and at the same time was busied in his 
illustrations of the Nibelungenlied. From Rome he 
was called to Diisseldorf to remodel the Academy, 
and to Munich to take the direction of the frescoes 
which the then Prince Royal of Bavaria had pro- 
jected for the Glyptothek. Thus divided between 
Disseldorf—where he held the appointment of 
Director of the Academy—and Munich, where he 
was charged with the execution of many works, he 
resigned his appointment in the former city, to 
devote himself exclusively, with those of his pupils 
who thought fit to accompany him, to his commis- 
sions at Munich, of the Academy at which place 
he was appointed Director on the death of Sanger. 
It is from this period may be dated the immense 
activity in the arts in Munich under the reign of 
King Ludwig. Of this movement Cornelius was 
the prime mover—as the head of the school; and 
from Munich his reputation extended throughout 
Europe. It would be vain to attempt a Catalogue 
Raisonnée of his great works in that city ; it must 
suffice to indicate the leading features of the prin- 
cipal. In the Glyptothek he decorated two large 
halls, one called the ‘Hall of Heroes,’ the other the 
‘Hall of the Gods,’ with frescoes based upon the 
heathen mythology, and painted according to the 
genius of the antique. In the Pinakothek he 
painted a great work illustrative of the ‘ History 
of Painting,’ and even whilst occupied with these 
he found time to decorate the Ludwigs-Kirche with 
four large frescoes—‘ God the Father,’ ‘The Na- 
tivity,’ ‘The Crucifixion,’ and ‘The Last Judgment,’ 
the last of which measures 62 feet high, by 38 
wide. About 1847 Frederick William IV. of 
Prussia invited Cornelius to Berlin, where he gave 
him a commission to decorate the Campo Santo, or 
Royal Mausoleum, destined to form one of the 
wings of the new cathedral, the building of which 
was commenced some years ago. His designs for 
this purpose possessed grandeur and originality, 
surpassing in daring all that the master had here- 
tofore produced, ‘The Four Knights of the Apoca- 
332 


lypse’ being especially nonesd ae in 


these have been engraved by Thater, and pt ; 
at Leipsic, in 1848. During his sojourn at Berlin 
the King of Prussia took the opportunity to get . 
Cornelius to make the design for the silver shield 
intended as a present for his godchild, the Prince: 
of Wales, and which will be remembered as an — 
attractive object at the great Exhibition of 1851, 
Reviewing the varied works of this great master, — 
we find that the Old Testament, Homer, Géthe, 
Dante, the Nibelungen, the German Troubadours, — 
and the New Testament, have all in turn supplied — 
him subject matter. The heroic is most in accord- ie 
ance with his natural disposition ; he is, however, — 
not insensible to grace, and has expressed the tender | s 
sentiments with the utmost felicity. Most of his 
paintings at Munich have been engraved by Amsler, — : 
Eberlé, Schoeffer, &c. When the employment ofl 
historical painters was determined upon for the 
decoration of our New Houses of Parliament, Cor- 
nelius was invited to this country and advised the 
adoption of fresco painting, an unfortunate advice, 
our climate being considered. He died in Berlin | 
on the 6th March, 1867. i): 
Herr Forster has published ‘Peter von Cornelius. 
Ein Gedenkbuch aus seinem Leben und eee: an 
Berlin, 1874, 8vo, 2 vols. a 
CORNER, Jouwn, a line-engraver, piblisned in? a 
1825 an interesting series of twenty-five ‘Portraits — 
of Celebrated Painters,’ beneath each of whichisa 
small medallion containing the artist’s most cele- 
brated work. : 
CORNISH, —. This name is affixed to a 
slightly etched portrait of Dr. Charles Rose, a 
Scotch clergyman. It was probably the work of 
an amateur, who was a member of the University _ 
of Oxford, as it is inscribed Cornish, Oxon. oe . 
CORNU, SEBASTIEN MELCHIOR, a French historical 
painter, was born at Lyons in 1804. He first 
studied under Richard and Bonnefond, and then 
went to Paris and entered the studio of Ingres, 
There are by him at Versailles the ‘Surrender of _ 
Ascalon to Baldwin III.,” and the ‘ Battle of Oued- 
Halleg. He continued the decorative works at St. 
Germain-des-Prés after the death of Flandrin, and 
died at Longpont (Seine-et-Oise) in 1870. 7 
CORONA, Jacos Lucrus, called Jacop Lucius 
VON CRONSTADT, and also the MASTER OF THE Key, 99 
a wood-engraver who lived in the 16th century, 
was a native of Cronstadt in Transylvania. He 
executed many wood-cuts after the designs of 
Lucas Cranach, and in 1564 removed from Witten- __ 
berg to Rostock, where he engraved on wood in  ~ 
1578, after the court painter Cornelius Cromeny, 
the ‘ Genealogical Tree of the Dukes of Mecklen- 
burg.’ His wood-cuts are also to be found inthe 
Wittenberg Bible of ve although dated 1558, 
His prints are signed J, Z. C. 7. (Jacobus Lucius 
Corona Transylvanus), sometimes Jacob Steben- 
biirgen, or with one or other of the following ~ 
monograms ; : 


CORONA, recwiaee the son of a miniature 
painter, was born at Murano in 1561, and, accord- _ 
ing to Ridolfi, was first instructed by Rocca da 
San Silvestro, a painter of little note, who employed — 
him in copying; but he afterwards ‘improved him-— x 
self by studying the works of Titian and Tinto- g 
retto. He also derived the greatest benefit from 
his acquaintance with Alessandro. Vittoria, an 
eminent sculptor, who, Lanzi says, gave him chalk 


Hd VOSANV'I 
Std ‘a4anoyT | [ozoyg pjasunyy 


i 


| 
tA 


ee 


} 


_ 
___ tion’ in San Stefano, painted with a greatness of 
___ style that approaches to Titian. In San Fantino is 


___ his picture, so much applauded by Ridolfi, of the 


> 


‘ 


e 


Library at Paris. 


i - 


models for the better management of the chiaro- 
_ seuro, and assisted him in his much-esteemed 


one the ‘Annunciation’ in 8S. Giovanni 0 
aolo, and his more admired work of the ‘ Assump- 


‘ Crucifixion,’ in which he treads so closely on the 
heels of Tintoretto as to belittle short of the excel- 
lence of that master. He died at Venice in 1605. 
It is said that he copied the works of Titian so 
exactly, that connoisseurs mistook his imitations for 
the originals. The Brunswick Gallery contains 
two paintings by him—‘Joseph and Potiphar’s 
Wife,’ and ‘The Death of Lucretia.’ 

CORONATO, IL. See Catvi, GIuLIo, 

CORONELLI, Vincenzo Maria, an Italian geo- 
grapher and draughtsman, was born at Venice 
about 1650. He entered the order of the Minorites, 
and went to France, where he constructed the 
celebrated globes which are now in the National 
On his return to Venice he was 
made cosmographer of the Republic, and founded 
the Academy of the Argonauts. In 1702 he became 
general of his order. He died at Venice in 1718. 


Among other works he published ‘Ritratti de’ 


celebri Personaggi,’ 1697 ; ‘ Lo Specchio del Mare,’ 
1698; ‘ Atlante Veneto,’ 1691-96; ‘Roma antico- 
moderna,’ 1716; and ‘Singolarita di Venezia,’ some 
of the plates in which he probably engraved. 
COROT, Jean Baptiste CAMILLE, was born in 
Paris, of humble parentage, in 1796. After receiv- 
ing his education in the Lycée of Rouen, he was 
laced in a draper’s shop. He did not follow his 
inclination till he was twenty-two, when he became 
a pupil of Michallon, then of Victor Bertin, and 
finally completed his studies in Italy. In 1827 he 
sent two of his works to his first exhibition, and 
amongst those which succeeded them may be 
named: ‘A View in Italy,’ ‘A Souvenir of the 
Environs of Florence,’ ‘The Burning of Sodom,’ 
‘Evening,’ ‘The Lake, ‘An Idyll,’ ‘The Italian 
Tyrol,’ ‘A Souvenir of Marcoussy,’ &c. Besides 
these landscapes, he painted several figure sub- 
jects, such as: ‘A Dance of Nymphs,’ ‘ Ariadne,’ 
‘Macbeth,’ ‘St. Sebastian,’ ‘Christ in the Garden 
of Olives,’ ‘Dante and Virgil,’ and ‘ Hagar in the 
Desert ;’ the two last named being bequeathed by 
him to the Louvre. Corot’s method was to work 
in the country in the summer, early and late, in 
the open air, to catch those effects only to be seen 
at dawn, at sunset, and by moonlight, in which he 
delighted. During the winter he worked in his 
studio on the ideas thus afforded him. His origin- 
ality was great: he saw and portrayed nature with 
his own eyes in a manner replete with poetry and 
fancy, in which style he has found followers in 
Troyon, Diaz, and others. In his early years he 
had to contend with poverty, but in after life 
wealth flowed freely in on him, and he was never 
unmindful of the poor and struggling artist. It is 
computed that his benevolences during the siege 
of Paris in 1870 amounted to 25,000 francs. He 
received medals for his works in 1833, 1848, 1855, 
and 1867, and was decorated with the Cross of the 
Legion of Honour in 1846, becoming an officer of 
the order in 1867. As a mark of their esteem for 
‘le pére Corot,’ his brother artists presented him 
with a gold medal shortly before his death, which 
occurred in Paris on the 22nd of February, 1875. 
He bequeathed to the Luxembourg two views—one 
of the Forum, the other of the Colosseum at Rome. 


PAINTERS AND ENGRAVERS. 


The pictures, sketches, etchings, &c., remaining in 
his studio were sold for 400,000 francs. Two Land- 
scapes by him are in the Lille Museum, and one 
each in the Museums of Bordeaux, Douai, Metz, 
and Langres. 

CORR, Erin, a Belgian line-engraver, was born 
of Irish parentage at Brussels in 1803. After 
studying under De Meulemeester, he went to Paris 
and completed his training under Wedgwood and 
Forster. On returning home he soon acquired a 
name by his engravings, and became in 1832 pro- 
fessor of engraving at the Antwerp Academy. He 
died in Paris in 1862, . Among his best plates are: 

Hagar in the Wilderness; after Navez. 1832. 

The Saviour of the World; after Leonardo da Vinci. 

Christ on the Cross; after Van Dyck. (His chef- 

d’ceuvre.) 

The Elevation of the Cross; after Rubens. (Unfinished ; 

the etching only.) 

The Descent from the Cross ; after Rubens. (Unfinished.) 

The King of the Belgians; after Wappers. 1834. 

The Queen of the Belgians; after Ary Scheffer. 1838. 

Cardinal Sterckx, Archbishop of Mechlin; after Cels. 

CORRADI, Konrap, a Swiss landscape painter 
in water-colours, was born in the early part of the 
19th century. He died at Uhwiesen in 1878. 

CORRADINI, BarroLommg£o, who is known as 
Fra CARNEVALE, was a Dominican monk living in 
the 15th century, who painted somewhat in the 
manner of Piero della Francesca. He was painting 
in Urbino in 1456, since records remain which prove 
him to have been then absolved from finishing a 
picture for the Confraternity of Corpus Christi in 
that city. In 1461 he was curate at San Cassiano di 
Cavallino, near’ Urbino, and seems to have lived 
there up to 1468. According to Padre Pungileone 
he painted the altar-piece of San Bernardino in the 
convent of that name in Urbino, in 1472. He died 
in 1484, Vasari asserts that he taught Bramante 
the art of perspective. A ‘St. Michael and the 
Dragon’ in the National Gallery, and a ‘ Virgin 
and Child with Saints’ in the Brera, Milan, are 
ascribed to him. 

CORRADO, GraquinTo, a Neapolitan painter, was 
born at Molfetta,in 1693. Hestudied in his native 
town, and afterwards at Rome. In 1753 he was 
invited to Madrid by Ferdinand VI., and succeeded 
Amigoni as first painter to the king. He remained 
in Spain until 1761, and died at Naples in 1765. 
The Madrid Gallery has fourteen of his works—3 
allegorical, 2 landscape, 2 classical, and the rest 
sacred historical. 

CORRALES. See MARTINEZ DE Los CORRALES. 

CORREA, Dixrco, a Spanish painter, whose works 
are in the style of the Florentine school, flourished, 
according to the date on some of his pictures, in 
1550. The following works, his chief productions, 
now in the Madrid Museum, were formerly in the 
convent of the Bernardines of St. Martin at Val de 
Iglesias: 

Pilate washing his Hands. 

Christ crowned with Thorns. 

Ecce Homo. 

The Death of St. Bernard. 

The Last Judgment. 

Madonna and Child and St. Anne. 

St. Benedict blessing St. Maurus. 

The Martyrdom of St. Andrew 

The Resurrection. 

St. Peter curing the Paralytic. 

Descent of the Holy Spirit. 

Descent from the Cross. 

The ‘Assumption of the Virgin,’ in the same 


gallery, was formerly in the church of the As- 
333 


A BIOGRAPHICAL DICTIONARY OF 


sumption at Toledo, The Dresden Gallery has a 
‘Christ on the Cross’ said to be by him. 

CORREA, Marcos, a Spanish painter, was a 
scholar of Bobadilla, and amember of the Academy 
of Seville from 1667 to 1673. His subjects were 
unambitious ; he painted with great care and finish 
small details ‘of still life, such as papers, books, &c. 

CORREGGIO, ANTONIO DA. See BERNIERI, 

CORREGGIO, ANTONIO ALLEGRI pA. See AL- 


LEGRI. 

ae CORREGGIO, FRANcEsco, was a native of Bo- 
logna, and flourished about the year 1652. He 
was a scholar of Francesco Gessi, and painted 
history with some reputation. His works are 


chiefly confined to the churches at Bologna. | 2 
San Procolo is a ‘ Magdalene in the Desert ; 
the Nunziata, the ‘Madonna di Loreto ;’ at in 


Santa Maria de’ Servi, the ‘ Virgin and Infant, with 
St., Luke and other Saints.’ 

CORRENS, EricH, was born at Cologne in 
1821, and after studying jurisprudence at Bonn, 
went to the Academy at Munich, and became an 
accomplished portrait painter and lithographer. 
He died at the latter city in 1877. He was well 
known for the elegance of his portraits, among 
which those of King Maximilian of Bavaria and 
Queen Maria, his consort, are mentioned as note- 
worthy. 

CORSO, GIOVANNI VINCENZO, was born at Naples 
about the year 1490, and was instructed by Amato 
and Pietro Perugino. He also studied the works 
of Andrea Sabbatini-and Polidoro da Caravaggio, 
and subsequently went to Rome, and assisted Pierino 
del Vaga. Most of the works of this artist in the 
churches at Naples have been damaged and re- 
touched. The best preserved are his admired 
picture of ‘Christ bearing his Cross,’ with many 
figures, in the church of San Domenico Maggiore, 
and the ‘ Adoration of the Magi,’ in San Lorenzo 
Maggiore. He died at Rome in 1545. 

CORSO, Nicco.d, was a native of Genoa, and 
flourished about the year 1503, the date inscribed 
on some of his works. His pictures are chiefly in 
the cloister and refectory of the monastery of the 
Olivetan Fathers at Quarto, near Genoa; the most 
esteemed is a subject from the life of St. Benedict. 
Soprani extols this painter for the fecundity of his 
ideas, the fine expression of his heads, and, above 
all, for the vivacity and firmness of his colouring, 
which, if it could be divested of a little hardness, 
would cause this artist to rank among the ablest of 
the Genoese painters of his time. 

CORT, CornEtis, called in Italy CornELIO F1am- 
MINGO, an excellent engraver, was born at Hoorn 
in Holland, in 1533 or 1536. He was first in- 
structed by Hieronymus Cock, for whom, in the 
early part of his life, he executed several plates 
after Rogier van der Weyden, Michiel’ Coxie, 
Frans Floris, and H. Mostaert, which were pub- 
lished with the name of his master. After having 
earned a very considerable reputation by these 
plates, he went to Italy, and first settled at Venice, 
where he resided in the house of Titian, and en- 
graved some of the finest works of that great painter, 
He afterwards removed to Rome, where he estab- 
lished a school of line engraving, in which he 
sought to graft on the simple manner of Marcantonio 
a more brilliant and broader style. This gave to 
the art a direction which it long retained, and 
which was adopted and extended in Italy by 
Agostino Carracci, and followed by Nicolaus De 
Bruyn of Antwerp. The art of engraving had 

334 


se” a et oe 3.) eee ef 


Hiieres been nearty confined to sual same and 
it was Cornelis Cort that opened the way to a more 
important sphere of the art. Cort died at Rome 
in 1578, His drawing is correct and tasteful; and 
his backgrounds, particularly his landscapes, are 
managed with great skill and finesse. His plates 
are signed with C. C.f., Corn., or Co. f. Heinecken 
has given a complete catalogue of the works o : 
this esteemed artist, the merit of which will justify 
our giving the following ample list of the most 
interesting : 4 i: 

PORTRAITS. a 


Cornelis Cort ; engraved by himself. 

Henry II. , King of France ; oval. 

Catharine de’ Medici ; Queen of France. 
Don Juan of Austria ; oval, with ornaments. 
Marcus Antonius Moretus; oval. 

Andrea Alciati; oval, with ornaments. 
Rogier van der Weyden ; painter. 

Theodoor van Haarlem ; painter. a 
Joachim Dionatensis ; painter. ii 


SUBJECTS AFTER HIS OWN DESIGNS. 

The Birth of the Virgin. 1568. 
The Conception of the Virgin. 
The Presentation in the Temple. 
The Repose in Egypt. 1568. 
The Holy Family: St. Joseph presenting a Pear to the 

Infant. 
The Last Supper. 1568. 

twice.) 
A Crucifix over a Globe, held by two Angelle 
The Resurrection. 1569. 
St. Theodore, patron of Venice, overcoming a Dragon: 
St. Catharine crowned by Angels. 1575. 


St. Veredina kneeling before an Altar. 
Two Landscapes, with Shipwrecks. 


SUBJECTS AFTER FLEMISH MASTERS BEFORE HE 
WENT TO ITALY. 


Adam and Eve, with the Serpent; after Michiel Cozie. 4 
The Resurrection ; after the same. 1568. ' a 
The Descent of the Holy Ghost ;-after the same. 
Christ triumphant, with St. Peter and St. Paul ; afin 
the same. 
Four Plates of the History of the Rich Man ae emt ; 4 
after Heemskerk. Y i "i 
The Parable of the Vineyard ; after the same. a 
Four Plates of the Parable of the Talents ; after the a 


we 


1578. 
ut 


1567. 


(He engraved this subject 


same. 

Six plates of the History of Noah and the Deluge; i 
after F. Floris. 

Six plates of the History of Abraham ; after the same. 

Six plates of the History of Jacob aud Rachel; after — 
the same. a 

Ten plates of the Labours of Hercules; after the same. 4 a 

Four plates of the History of Pluto an Proserpine 
after the same. 

Bacchus and Venus; after the same. 1566. 

The Immortality of Virtue; emblematical; after the 
same. 1564. es 

The Descent from the Cross; after Rogier van der -. 
Weyden. a” 

St. Roch ; after J. Speckart 1567. I 

St. Laurence ; after the same. 

St. Dominic reading ; ; after Bart. Spranger. 

The Holy Family, with Angels; after the same. 

The Coronation of the Virgin ; after Gilles Mostaert. 


1565. 
The Academy of Painting; after Stradan; fine. 157 8. oy 


SUBJECTS AFTER VARIOUS MASTERS ENGRAVED IN a 
ITALY. 


After Titian. 
The Annunciation. 
Another Annunciation. 
The Martyrdom of St. Laurence. 1571. 
The Trinity ; generally called, All Saints. 
St. Jerome in the Wilderness, reading. 
St. Jerome in the Wilderness, kneeling before a 
Crucifix at the entrance of a Cavern; Jn Venetia. ; 
Corn. Cort. f.; scarce. Not mentioned by Heinecken. — 


1566. q 


ay ‘The Magdalene ; half-length. 
_ ‘The Magdalene in the Desert, before a Orucifix. 


quin and Lucretia. 1571. 
Diana and Calisto. 


Prometheus. 1566. 


Rogero liberating Angelica from the Dragon. 


; After Girolamo Mutiano. 

St. Peter walking on the Water. 1568. 

Christ crowned with Thorns. 

Christ bearing his Cross. © 

The Descent from the Cross, with two Ladders. 

The Descent from the Cross, with four Ladders. 

Christ appearing to the Marys. 

St. Jerome in Meditation. 

A set of seven Landscapes, with Figures, called the 
Seven Penitents; St. John the Baptist, St. Mary 
Magdalene, St. Jerome, St. Onophrius, St. Hubert, St. 
Francis with the Stigmata, and St. Francis in devotion. 


After Giulio Clovio. 
The Annunciation. 


- The Adoration of the Magi, in the form of an Altar. 


The Virgin and Infant; half-length. 

Christ preaching in the Temple. 

The Baptism of Christ. 

The Crucifixion between the two Thieves. 
Another Crucifixion ; a grand composition. 1568. 
The dead Christ, with the Marys. 

The Entombment of Christ. 


_ Christ appearing to Mary Magdalene. 


The Conversion of St. Paul. 
St. George and the Dragon. 


After Taddeo Zuccaro. 
The Creation of Adam and Eve. 
The Presentation in the Temple. 
The Nativity ; a rich composition. 
The Holy Family, with St. John and his Lamb. 
The Miracle of the Loaves. 
The Entombment of Christ. 
The Descent of the Holy Ghost. 
The Martyrdom of St. Agatha. 


After Federigo Zuccaro. 
Moses and Aaron before Pharaoh. 1567. 
The Birth of the Virgin. 1578. 
The Conception of the Virgin. 
The Annunciation. 1571. 
The Nativity. 1568. 
The Adoration of the Magi. 
The Holy Family, with the Infant. 
The Flight into Egypt. 
The Adulteress before Christ. 
Christ tempted in the Wilderness. 
Christ driving the Buyers and Sellers from the Temple. 
The Resurrection of Lazarus. 
The Woman of Samaria. 
Christ on the Mount of Olives. 
Christ taken in the Garden. 
The Death of the Virgin. 
The Coronation of the Virgin. 
The Calumny of Apelles. 


After Raphael. 
The Transfiguration. 1573. 
The Battle of the Romans, called the Battle of the Ele- 
phants. (He engraved also a reverse of this plate.) 
The Battle of Constantine with Maxentius. 


SUBJECTS AFTER VARIOUS ITALIAN MASTERS. 


Parnassus; after Polidoro da Caravaggio. 

The Adoration of the Shepherds; after the same. 

The Repose in Egypt; after B. Bassano. 

The Visitation of the Virgin to St. Elizabeth; after 
Marco da Stena. 

The Nativity ; after the same. 

The Adoration of the Shepherds; after Parts Romano. 

The Holy Family ; after F. Barocct, 1577. 

The Baptism of Christ; after F. Salviati. 

The Marriage at Cana; after Lorenzo Sabbatint. 

The Last Supper; after Livio Agresti. 

The Stoning of Stephen ; after Marcello Venustt. 

St. Jerome penitent; after Riccio da Siena. 

St. Jerome in the Desert, with two Angels; after 
Jacobus Parmensis. 

The Cord of St. Francis ; after Carracci. 


PAINTERS AND ENGRAVERS. 


The Marriage of St. Catharine ; after Correggio. 
St. Jerome; after the same. 

St. Margaret of Cortona; after Tempesta. 

A Dance of Dryads; after 7 Rosso. 

The Three Fates; after Giulio Romano. 

The two Tombs of the Medici; after Michelangelo. 


CORT, Henprik pg. See Dr Cort. 

CORTBEMDE, BatTHasaR VAN, the son of a 
picture-dealer, was a painter of Antwerp, who was 
born in 1612, married Ursula, a sister of Jan van 
den Hoecke, the painter, and died between 1663 and 
1670. He studied under Jan Blanckaert, and was 
considered among the better class of the masters 
of his century. A ‘Good Samaritan’ in a land- 
scape by him (1647) is in the Antwerp Museum. 

CORTE, Czsarg, the son of Valerio Corte, was 
born at Genoa in 1550, and studied under Luca 
Cambiaso. According to Baldinucci, he was one 
of the most noted portrait painters of his time: he 
also painted historical subjects with considerable 
success. He visited France, where he was much 
employed, and is said by Baldinucci to have been 
in England in the reign of Queen Elizabeth, al- 
though he is not mentioned in Lord Orford’s ‘ Anec- 
dotes’; he, however, painted that queen, and 
several of her court. His best historical works 
are at Genoa. For the church of San Pietro he 
painted the titular Saint at the feet of the Virgin, 
coloured with great chasteness and delicacy; for . 
San Francesco, the altar-piece of the chapel of 
Prince Massa, representing Mary Magdalene; and 
for the church of Santa Maria del Carmine two 
pictures of St. Simeon and St. Francis. He died in 
1613. His son Davivz, who died in 1657, was a 
celebrated imitator of the old masters. 

CORTE, GABRIEL and JUAN DE LA. 
Corre. 

CORTE, VALERIO, was born at Pavia in 1530. 
He went to Venice, and under the guidance of Titian 
became an eminent painter of portraits. He after- 
wards settled at Genoa, where he met with great 
encouragement, but ruined himself by the folly of 
alchemy. He died at Genoa in 1580. 

CORTELLINI, MicHELE, who painted from 
about 1502 to 1542, was a follower of Francia. A 
‘Madonna enthroned, with four Saints,’ by him, 
formerly in Sant’ Andrea, is now in the gallery at 
Ferrara. 

CORTESE, | See Courrols. 

CORTICELLI. See Licrnic, Giovanni ANT 

CORTONA, It Gosso pa, See Bonzi. 

CORTONA, Luca pa. See SIGNORELLI. 

CORTONA, PieTRo DA. See BERRETTINI. 

CORVI, Domenico, an Italian painter, was born 
at Viterboin 1721. He was instructed by Mancini, 
and showed his great talent in his chief work, ‘The 
Family of Priam with the dead body of Hector.’ 
He was for some time Director of the Roman 
School and the instructor of Cades and Camuccini. 
He died in 1803. 

CORVINUS, JoHAann AvGustT, a German en- 
graver, was born in 1682. He worked chiefly for 
the booksellers, and principally engraved views 
and buildings, in a neat but stiff style. By 
him there is a set of ornaments for ceilings, after 
designs by Carlo Maria Pozzi; most of the plates 
for awork entitled ‘ Representatio Belli ob Successio- 
nem in Regno Hispanico,’ published at Augsburg, 
are by this artist; and several for a book by Pfeffel 
on the churches and monasteries of Vienna, pub- 
lished at Augsburg, in 1724-25. He died in 1738. 

COSA, Dizeo DE, a Spanish engraver, who exe- 

335 


See DE LA 


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A BIOGRAPHICAL DICTIONARY OF- 


cuted some spirited plates in the French style at 
the commencement of the 18th century. There is 
by him in Luis de Salazar’s ‘ Indice de las Glorias 
de la Casa Farnese,’ 1716, a plate representing the 
arms of that house, with four allegorical figures. 

COSCI. See BALpuccl, GIoVANNI, | 

COSIDA, GrrRonimo, a Spanish painter of good 
family, flourished at Saragossa early in the 16th 
century, and was patronized by the Archbishop 
Don Fernando de Aragon. His best pictures were 
architectural decorations. According to Cean Ber- 
mudez, his invention was fertile and his colouring 
soft and agreeable. He was still living in 1572. 

COSIMO, ANDREA DI. See FELTRINI. 

COSIMO, Piero pi. See PrERo pi LORENZO, 

COSIMO pi LORENZO FILIPPI. See Rosse111. 

COSMATI, were a family of mosaicists and 
architects, who lived at Rome during the whole of 
the 13th century. Their works were chiefly exe- 
cuted for the churches of Santa Maria sopra 
Minvera, and Santa Maria Maggiore in their native 
city. 

COSME. See Tura. 

COSSA, Francesco, (or DEL Cossa,) an Italian 
painter of the school of Ferrara, flourished in the 
middle of the 15th century. His name first appears 
in a record of 1456, which proves that he was then 
an assistant to his father Christofano del Cossa, 
who was at that time employed in painting the 
carving and statues on the high altar in the chapel 
of the bishop’s palace at Ferrara. He afterwards 
went to Bologna, where his two masterpieces still 
remain, The first is a canvas with the Virgin and 
Child enthroned, with two Saints, and a portrait of 
Alberto de’ Catanei, signed and dated 1474, and 
now in the Gallery. The second is a fresco in the 
church of the ‘Madonna del Barracano,’ repre- 
senting the Virgin and Child enthroned, beneath 
which are the portraits of Giovanni Bentivoglio 
and Maria Vinziguerra; it is dated 1472. There 
is a fine picture of St. Vincent Ferrer in the 
National Gallery, an ‘Annunciation’ at Dresden, 
and an Allegory at Berlin. 

COSSALE. See Cozza.eE. 

COSSIAU, Jan Joost van, (or Cosziau,) was a 
landscape painter, who was born near Breda in 1654, 
and died at Mentz in 1732, although he generally 
resided at Frankfort. His manner of treating his 
landscapes is Italian, and he endeavoured to imitate 
the style of Gaspard Poussin. His pictures are well 
composed, and are enriched with buildings and 
cattle. We find mention of the following : 

Brunswick. Gallery. Two Landscapes with Cattle. 

(Both dated 1704.) 

Cassel. Gallery. Egyptian Landscape. 

Munich. Gallery. A large Landscape. 1716. 

COSSIERS, Jan, (Corsiers, CouTSIERS, or 
CAUSIERS,) a son of Antonis Cossiers, a painter in 
tempera, (who died in 1646-47,) was born at 
Antwerp in 1600. He was a pupil of Cornelis De 

Vos, the elder, entered the Guild of St. Luke in 
1628-29, was dean thereof in 1639-40, and died 
at Antwerp in 1671. There are many of his works 
in the churches in Flanders; they are judiciously 
composed, and his attitudes are well chosen and 
natural. His drawing is tolerably correct, and his 
colouring vigorous, though a little too brown. In 
the back-grounds of his pictures he frequently in- 
troduced architecture, which he treated in a masterly 
manner. The following are among his best works. 
At Brussels, in the church formerly of the Jesuits, 
the ‘Nativity’; and at the Beguinage, the ‘ Martyr- 

336 


| Claude Lefévre, and also a portrait of Valentin 


dom of St. Ursula.’ At Mechlin, a grand 
position of the ‘Crucifixion,’ and the ‘ Presenta: 
in the Temple.’ 


~ 


In the Antwerp Museum are §" 
Adoration of the Shepherds,’ ‘ Preparation fo 
Flagellation,’ and three other works by him; in the 
Hague Gallery is a ‘Triumph of Silenus’; in the — 
Madrid Gallery, ‘Prometheus’ and ‘ Narcissus’; in 
the Cassel Gallery, ‘An Old Beggar-Couple’; in the - 
Brussels Gallery, the ‘Deluge’; and in the Lille 
Museum, a ‘ Miracle of St. Nicholas.’ an 
COSSIN. See Coquin. 
COSSIN, Louis, who was born at Troyes in 163 


engraved a portrait of Frangois Chauveau after 
Conrart. Soe 
COSTA, FRANcEsco, an Italian painter, chiefly of — 


ornaments and perspective, was born at Genoa in 
; Lm, abecie 


COSTA, Iprotiro, who was born at Mantua i 
1506, was the son of Lorenzo Costa. Althoug 
not a pupil of Giulio Romano, his style closel: 
imitated that master. He died in 1561. He ha 
a brother, GiroLamo Costa, of whom he was th 
instructor, as he was also of Bernardino Campi. — 

COSTA, Lorenzo, ‘ the elder, was born at Ferrar 
in 1460, and is supposed to have been the pupil of 
either Tura or Cossa. In early life he painted — 
some of the frescoes in the hall of the Schifanoia, 
belonging to Duke Borso of Ferrara. Costa’s first _ 
visit to Bologna seems to have been made in 1480, 
and he is said to have painted scenes, drawn from 
the ‘Iliad’ and Greek history, in the Bentivoglio 
Palace in 1483. The picture of St. Sebastian, and 
the portrait of Canon Vaselli, in the Marescotti — 
chapel in Santa Petronia at Bologna, are of about 
this date. In 1488 he painted a votive Madonna, 
with the likenesses of Giovanni Bentivoglio and — 
his wife and their eleven children, on the walls of 
the Bentivoglio chapel in San Giacomo Maggiore _ 
at Bologna; he also executed on the walls of the 
same chapel the landscapes surrounding an eques- 
trian figure of Annibale Bentivoglio ; and in 1490 
the frescoes there of the ‘ Triumph of Life and of 
Death’ were completed. Between 1490 and 1495 
he finished the ‘Annunciation’ at San Petronio, 
and in 1492 the great ‘Madonna and Child, with — 
SS. Sebastian, James, Jerome, and George,’ over _ 
the high altar:of the Baciocchi Oratory in the same _ 
church.. In 1497 he painted the ‘ Virgin and Child, 
with four Saints,’ in the Segni chapel in San 
Giovanni in Monte, and the ‘Glory of the Madonna’ 
for the high altar of the same church, In the 
Brera, Milan, is an ‘Adoration of the Magi’ of 
1499; and of the same year are the lunette frescoes “a 
in the Bentivoglio chapel, at San«Giacomo Mag- 
giore. <A friendship existed between Francia and 
Costa during the years extending from 1480 to 
1500, and their works show the influence of Costa 
upon the Bolognese Francia, who maybe regarded 
as his pupil in painting. In 1481 Giovanni Benti- 
voglio founded the Oratory of St. Cecilia, Bologna, 
and in its decorations Costa, Francia, Chiodarolo, 
Aspertini, and, according to Frizzoni and Milanese, _ 
Cesare Tamaroccio, all had ashare; Costaexecuting 
two frescoes—one of ‘ Pope Urban instructing his 
convert Valerian,’ the other of ‘St. Cecilia dis- 
tributing her goods to the poor.’ In 1509, after 
the expulsion of the Bentivoglio family from 


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___- remained until his death, his chief works being in 
the palace of St. Sebastian. Of other pictures 
____-which he produced at that time can be mentioned 
a ‘Virgin and Child between two Saints,’ in the 
_ Ferrara Gallery; the ‘Allegory of the Court of 
Isabella of Este,’ now in the Louvre; a small 
diptych formerly in the possession of Sir Charles 
Eastlake ; and a ‘Madonna and Saints,’ of 1525, in 
the church of Sant Andrea, Mantua. Costa pro- 
! __ bably painted some of the frescoes which adorn the 


Schalcheria in the castle of Mantua. By him we 
have also one engraving, the ‘ Presentation in the 
Temple,’ from the sketch for an altar-piece by 
himself, dated 1502, the year in which were en- 
:. graved the two Saints by Francia, by whom Costa 
appears to have been led to engrave the plate in 
question, Although much in the style of Francia, 
it is treated in a freer and more picturesque manner, 
_His death took place at Mantua in 1535. Of his 
pictures the following may be noted : 


Berlin. Museum. Pieta. 1504. 

|; ee Me Presentation in the Temple. 1502. 

Madonna, adored by Giovanni 
Bentivoglio and his Family 
(in tempera). 1488. 

The Triumph of Life and of 
Death (in tempera). 

Vision of the Apocalypse ; fresco. 

Two subjects from the Life of 
St. Cecilia; frescoes (the eight 
other compartments painted by 
Francia and his pupits). 

ah Twelve Apostles (in tempera). 
1495. 


S. Giacomo 


Bologna. 
Maggiore. 


‘a S. Cecilia. 


i S. Petronio. 


St. Jerome. 
Martyrdom of St. Sebastian (some- 
times wrongly ascribed to Cossa). 
S. Giovanni § Virgin enthroned, surrounded by 
in Monte.{ Saints. 1497. 
Pinacoteca, St.Petronius between SS. Francis 
and Dominic. 1502. 
Florence. Pitit Palace. Portrait of a Man in a red Cap. 
London. Jat. Gali. Madonna and Child enthroned, 
with Angels. 1505. 
»» Hampton Court. Portrait of a Lady, probably 
7 Isabella d’Este, Marchioness of 


Ls ”? 
” 2? 


7 Mantua. 
Mantua. S&S. Andrea. Virgin surrounded by Saints. 
1525. 
Milan. Brera. Adoration of the Magi. 1499. 
Paris. Louvre. Court of Isabella of Este, Duchess 


of Mantua. 
M zm Mythological Scene. 

COSTA, Lorenzo, ‘the younger,’ who was born 
in 1537, was the son of Girolamo Costa, and was 
instructed in the art of painting by his uncle 
Ippolito. He worked in concert with Taddeo 
Zuccaro in the Belvedere at Rome, about 1560, 
and died in 1583. . 

COSTA, Tommaso, a painter of perspective views, 
and a pupil of Jean Boulanger, was born at Sassu- 
olo in 1635. He resided at Reggio, and died in 1690. 
He is represented in the Estense Gallery, Modena, 
by an exterior and an interior. 

COSTANZI, Piacipo, who was born in Rome in 
1688, was a pupil of B. Luti, and painted historical 
subjects. The most esteemed of his larger works, 

is his ‘St. Camillus,’ in Santa Maria Maddalena ; in 
__ which he has aspired to the imitation of Domeni- 
. chino. His ‘Resuscitation of Tabitha,’ in Santa 
Maria degli Angeli, is the original of a mosaic in 
St. Peter’s. He also painted in fresco the ceilings 
of the tribunes in Santa Mariain Campo Marzo and 

Z 


San Gregorio, and was much employed in painting 
figures in the landscapes of other artists, particu- 
larly in those of Jan Frans van Bloemen, called 
Orizonte, He died in 1759. A portrait of George 
Keith, Earl Marischal of Scotland, painted by him 
in Rome in 1752, is in the National Portrait Gallery, 
and ‘St, Pancras and the Infant Christ,’ by him, 
is in the Dublin National Gallery. 

COSTE, Jean, a French historical painter, who 
flourished in the 14th century, was the painter in 
ordinary and favourite of King John. He distin- 
tinguished himself especially by some paintings of 
great merit which he executed in oil at the castle 
of Val-de-Rueil in 1356. He died in 1391. 

COSTELLO, Lovisa Sruarr, the daughter of 
Colonel Costello, was born in France in 1799. 
When about twenty years of age she visited 
London, and from 1822 to 1839 exhibited miniature 
portraits at the Royal Academy. She was likewise 
an authoress, and published ‘Specimens of the 
Early Poetry of France, the ‘Rose Garden of 
Persia,’ and other successful works. She died at 
Boulogne in 1870, 

COSTER, Apam pg. See Dr Coster. 

COSTER, Annr. See VALLAYER. 

COSTER, D., was a Flemish engraver, who flour- 
ished about the year 1700. He was chiefly em- 
ployed by the booksellers; and, among other 
plates, engraved a portrait, of Frans Hals, the 
painter, after Van Dyck. 

COSWAY, Marta Cecinra Louisa, whose maiden 
name was Hadfield and whose father was a 
Manchester man, was born at Florence in 1759. 
From a very early age she showed great powers 
of drawing, and as achild gained a silver medal 
for proficiency in that art. In 1778 she was 
elected a member of the Academy of Fine Arts 
in Florence, and was one of the very youngest 
members ever admitted into that select society. 
She was also an excellent musician, and played 
the organ at the Monastery of the Visitation, where 
she had been educated. Her father died in 1778-9, 
and then at the earnest recommendation of her 
friend Angelica Kauffmann she came to London 
with her mother, sister and brother. At Mr. 
Townley’s house in Park Street she met Richard 
Cosway, who was attracted by her unusual beauty 
and fell in love with her. They were married at 
St. George’s on January 18,1781, and Mr. Townley 
gave the bride away. She was greatly attached 
to her eccentric husband, and they travelled on 
the Continent very much together, Mr. Cosway at 
times returning to England alone, and leaving his 
wife in France and Italy busy upon carrying out 
a scheme which interested her greatly, that of 
founding a special religious order for teaching 
and attaching a high-class girls’ school to the 
convent. This scheme she started first at Lyons 
under her good friend Cardinal Fesch, and with 
the full approval and financial assistance of her 
husband, but eventually she transfered it to Lodi, 
where, by the aid of the Duke of that place, 
she obtained an old monastery which she fitted up 
for her purpose. During the life of her only little 
girl, who died at the age of six, Maria Cosway was 
in England, and exhibited many works at the Royal 
Academy, painting miniatures and also works in oil 
and pastel, and preparing illustrations for Boydell’s 
Shakespeare Gallery and Macklin’s Poets. She 
also cleverly copied some of the works of Correggio 
and many of her husband’s miniatures, She tenderly 
nursed Richard Cosway during his mental se 


A BIOGRAPHICAL DICTIONARY OF 


Dame. ‘There are by him at Versailles several 
views in the gardens of that palace. Heetcheda 
plate representing ‘Our Lord on the Mount of 
Olives,’ and a series of seven scenes from the his- 
tory of Venus. He was admitted into the Academy — 
in 1672, and died at Villers-sur-Marne in 1708. — 
COTES, Francis, an English portrait painter, 
was born in London in 1726. He was a scholar of 
George Knapton. Lord Orford mentions some of 
his works in oil and in crayons, the latter of which 
he compares to the portraits of Rosalba. He died 
in the prime of life in 1770, He was an eminent — 
artist in crayons, and one of the first members 
of the Royal Academy, and also a member of the 
Incorporated Society of Artists. At Greenwich Hos- — 
pital, there is a portrait by him of Admiral Lord 
Hawke. A portrait group of Mr. and Mrs. Joah 
Bates, in the possession of the Sacred Harmonic — 
Society, is considered one of his best works. _ 
COTES, SamvEL, born in 1734, a younger brother 
of Francis Cotes, R.A., painted miniature portraits 
with much success, and also worked in crayons. 
He died at Chelsea in 1818. SNe Poth 
COTIGNOLA, Bernarpino and Francesco. See = 
De’ ZAGANELLI. — 
COTIGNOLA, GiroLAMo Marcumest pa. See’ 
MARCHESI. a 
COTMAN, Joun JosepH, an English landscape 
painter, was the son of John Sell Cotman. He had 
considerable talents, but owing to his extravagant — 
and eccentric habits, he was always in a destitute 
condition. He died at Norwich in 1878. 2 , 
COTMAN, Joun SELL, who was born at Norwich 
n 1782, was in a great measure his own instructor 
in art, though he owed much to the kind patronage 
of Dr. Munro. In 1800 he came to London, where 
he resided, and exhibited at the Royal Academy — 
until 1806, when he returned to Norwich. - In the 
following year he was made a member and secre- 
tary of the Norwich Society of Artists, and in one 
single year, 1808, he sent no less than sixty-seven 
works to the exhibition. After various journeys 
in Normandy, and a residence of some years in 
Yarmouth, Cotman was, in-1834, appointed Pro-- - 
fessor of Drawing in King’s College School, 
London. Heheld this post until his death, which * 
occurred in London in 1842. Besides his land- 
scapes and marine pieces in oil and water-colours, 
he executed numerous engravings of architecture 
both of England and of Normandy. He published- 
in 1812, ‘ Miscellaneous Etchings of Architectural- 
Antiquities in Yorkshire’ ; in 1812-17, ‘ Architectural - 
Antiquities of Norfolk’; and in 1813-16, ‘Sepul- 
chral Brasses in Norfolk;’ all of which works 
were republished with large additions under the ~ 
following titles —‘ Architectural Etchings of Old 
English Buildings,’ 2 vols. folio, 240 plates; 
‘Sepulchral Brasses of Norfolk and Suffolk,’ 2- 
vols., 170 plates ; ‘Liber Studiorum,’ 48 plates. In 
1817 he went to France, and collected the materi- : 
als for his magnificent work, ‘ Architectural Anti- 
quities of Normandy,’ 100 plates, in 2 vols. folio, 
with descriptive letter-press by Dawson Turner of 
Yarmouth, which was published in 1822. In 1825 
he was elected an Associate of the Water-colour 
Society, and frequently sent works to their ex- 
hibitions. Ten water-colour drawings by him are 
in the South Kensington Museum. — 
COTMAN, Mirzs Epmunp, born in 1811, wasthe __ 
eldest son of John Sell Cotman. He was brought . 
up as an artist, exhibited landscapes in Suffolk 
Street and at the Academy and in 1842 succeeded —_— 


and serious illness, and on his death she returned 
to her beloved Italy and settled down at Lodi, 
endowing the convent there with her estate and 
devising to it all she could bequeath. The Em- 
peror Francis I. having desired to plant near to 
Milan a branch house of the well-known Order 
of the Dame Inglesi, Mrs. Cosway merged her 
small creation into that larger Order and benefacted 
the new establishment. In consideration of this 
work the Emperor visited the convent and created 
its founder a Baroness, She died at Lodi in 1838 
and was buried in the chapel of the convent, where 
are still preserved many interesting memorials of 
her and of her more celebrated husband. 


COSWAY, RicHarp, an eminent miniature 
painter, was born at Tiverton in Devonshire, in 
1742. He came early to London, and studied 
under Hudson and in Shipley’s school; he soon 
distinguished himself by his drawings from the 
antique in the Duke of Richmond's gallery, which 
Cipriani and Bartolozzi pronounced admirable. 
In 1766 he was a member of the Incorporated 
Society of Artists, and in 1769 he was admitted to 
the Royal Academy schools. In the next year he 
became an Associate; in 1771 he was elected a 
Royal Academician ; and in 1781 Ke married the 
artist Maria Hadfield. He continued to progress 
in public favour, and for a considerable time main- 
tained the ascendency in his particular branch of 
art, miniature, and bade defiance to all attempts at 
rivalry. In his oil-paintings he aimed at the 
manner of Correggio; and there are in existence 
some that for beauty of design and sweetness: 
of expression would not discredit that honoured 
name. His widow retained three till the time of 
her death. He painted all the beauty and fashion 
of his day: he was particularly distinguished by 
the notice of the Prince of Wales, then the leader 
of the gay world, and Cosway painted him as a» 
gentleman, and not as a coxcomb or an actor. 
Cosway was fond of collecting pictures, drawings, 
prints, and other objects of art, and his house in 
Stratford Place was like a dealer’s shop. He 
died in London in 1821. His portrait of Gen- 
eral Pasquale Paoli is in the Uffizi, Florence; a 
portrait of himself is in the National Portrait 
Gallery. 

See ‘Richard Cosway, his wife and pupils,’ by 
G. C. Williamson, 1897, for a full account of his 
life and works, (Bell.) G.c. W 

COSZIAU. See Cosstav. sce 

COT, Pizrre AvGUSTE, painter, born at Bédarieux 
(Hérault), February 17, 1837, was a pupil of Duret 
and of Léon Cogniet. He painted mythological 
subjects, and also enjoyed a considerable reputation 
for his portraits. He died in July 1883. 

COTAN, Juan Sanouzez. See SANcHEZ Coran. 

COTELLE, Jxay, ‘the elder,’ a French painter 
of ornament, who also etched, was born at Meaux 
in 1610. He studied under L. Guyot, and worked 
largely for Simon Vouet. He became an Academician 
in 1651, and died in 1676, There are engraved by 
him seven vignettes for a book of prayers. 

COTELLE, Juan, ‘the younger,’ was a painter 
and engraver, born in Paris in 1645. He received 
his early instruction from his father, Jean Cotelle 
and eventually visited Italy. On his return he 
devoted himself to his profession, producing his- 
torical paintings, miniatures, and occasionally 
etchings. His chef-d’cuvre was the ‘ Marriage at 
me painted in 1681 for the cathedral of Notre- 


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‘London. He died in 1858. g ch 
COTTA, Jacopo, an Italian engraver, flourished 
' about the year 1600. His name is affixed to an 
_ etching representing the ‘Meeting of Isaac and 
_ Rebekah,’ after Storer. It is executed in a poor, 
_ tasteless style, and incorrectly drawn. 

_ _ COTTARD, Pierre, according to Florent Le 
Comte, was an architect, who flourished in the 17th 
century, and etched some plates of vases and 
ornaments, which are executed ina bold, coarse 
eh ae We have from his hand a set of four views 
_ of Bordeaux, and a series of designs published in 
e186. His prints are usually marked with the 


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_ _ COTTRAU, Fétrx, a French painter, was born 
_ in Paris in 1799, and died in the same city in 1852. 
_ He painted landscapes, portraits, and Scriptural 
and fancy subjects. 
COUASKI, ALEXANDER, a Polish portrait painter, 
_ was born in Poland in 1736. He was a page in the 
_ court of the last King of Poland, but was after- 
wards sent to France to study under Vien. On the 
outbreak of the French Revolution he was painter 
to the Prince de Condé. He executed portraits 
chiefly in pastel, and among them those of the 


Madame Elizabeth. Marie Antoinette, however, he 
portrayed in distemper, and the repetitions he made 
of this picture are stated to have procured him a 
subsistence for a lengthened period. He also 
sketched Louis XVII. Many of his paintings are 
wrongly ascribed to other masters, He died at 
Sainte-Périne in 1829. 

COUCHE, Jacquzs, a French line-engraver, was 
born at Abbeville in 1759. He became a pupil of 
Le Vasseur and of Aliamet, and was subsequently 
appointed engraver to the Duke of Orleans. The 
date of his death isnot known. He owed much of 
his reputation to his having been the moving spirit 
in the publication of the work known as the 
‘Galerie du Palais Royal.’ This was issued in part 

-in 1786 under Couché’s direction, but the Revolu- 
tion having stopped the work, Couché some years 
afterwards associated himself with Laporte and 
Bouquet,.and brought his task to a successful 
termination in 1808. He engraved the following 
eighteen plates in that collection: 

The Young Martyr; after Cagnacct. 

The Death of Actzon; after Titian. 

The Holy Family; after Annibale Carracci. 

The Return from the Chase; after Wouwerman. 

Hawking ; after the same. 

The Judgment of Paris; after Rubens. 

Bal Champétre ; after Watteau. 

The Lady in the Balcony ; after Gerard Dou. 

The Concert of Oats; after C. Brueghel. 

The Revel; after Cerquozzt. 

Hercules and Wisdom; after Paolo Veronese. 

Mars and Venus; after the same. 

Honour ; after the same. 

Dislike ; after the same. 
~ A Circumcision ; after Bassano. 

_ The Martyr ; after Guido Canlassi. 
St. John preaching in the Wilderness; after Albano. 


COUCHE, Francois Louis, an engraver, the 
son and pupil of Jacques Couché, was born in 
Paris in 1782. He produced in an indifferent 
manner a number of plates representing the battles 
of the first Napoleon—on one of which is the 
date 1812. They were in some cases finished by 

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PAINTERS AND ENGRAVERS. 


Bovinet. At one period of his life he was keeping 
a shop as a publisher in the Rue Hautefeuille 
in Paris. His engravings are generally marked 
Couché fils—sometimes simply Couché, and in one 
case Francois Couché. He engraved some of the 
plates for the ‘Galerie du Palais Royal,’ and for 
Denon’s great work on Egypt. He died in Paris 
in 1849, 

COUDER, Jean Remy ALEXANDRE, who was born 
in Paris in 1808, and studied under Picot, became 
famous for his pictures of still-life, fruit, and 
flowers, and also genre subjects. He died at 
Baran (Oise) in 1879. 

COUDER, Louis Cuar.tes AUGUSTE, an historical 
painter, was born in Paris in 1790. He studied 
under David and Regnault, and brought himself 
prominently into notice with his prize painting in 
1817, representing the ‘ Levite of Mount Ephraim.’ 
But the promise then given was not redeemed by 
the works that immediately followed; and even 
his ceiling decoration in the Gallery of Apollo in 
the Louvre shows that he was still restrained by: 
classical fetters. He repaired to Munich in 1833 
to study the progress of fresco painting there; 
and on his return to Paris painted in the churches 
of St. Gervais, Notre-Dame-de-Lorette, St. Ger- 
main-]’Auxerrois, and in the Madeleine. These 
works show care and skill, but are lacking in the 
most necessary element,—religious feeling. His 
historical works, executed at Versailles, are much 
more successful. There he had a better field for 
showing his skill in drawing and as a colourist, as 
well as for proving that he possessed dramatic 
force, and the power of rendering individual 
characteristics. It is on the merit of these pro- 
ductions that his real claim to fame is based. His 
Francis J. is now at Fontainebleau. Amongst 
other paintings may be mentioned also ‘The Taking 
of Lerida,’ and ‘The Opening of the States-General 
in 1789.’ He died in Paris in 1873. 

COUDRES. See DrEscoupREs. 

COULET, ANNE PHILIBERTE, a French engraver, 
was born in Paris in 1736, and was a pupil of 
Aliamet and of Lempereur. She engraved several 
landscapes and sea pieces, especially those of 
Joseph Vernet, which are charmingly etched and 
finished with the graver. She was received into 
the Academy in 1770, and became a member of 
the Academy of Viennain 1771. The date of her 
death is not known. 

We have by her the following engravings: 

“‘ Rendez-vous a la Colonne ;” after Berchem. 

The Departure of the Boat; after Joseph Vernet. 

The Fortunate Passage; after the same. 

The Fine Afternoon ; after the same. 

The Fishermen throwing their Nets; after the same. 

The Neapolitan Fishermen ; after the same. 

Rural Pleasures ; after Loutherbourg. 

The Pleasure Party in the Country ; after the same. 

Going to Market; after Van Goyen. 

COUPE, Anrornz JEAN Baprist#, a French line- 
engraver, was born in Paris in 1784. He was a 
pupil of Roger. He engraved ‘Prayer to the 
Madonna,’ after Mme. Haudebourt-Lescot, and 
many vignettes for the works of Voltaire, Rous- 
seau, &c. It is not known when he died. 

COURBE, WILBRODE MAGLOIRE NICOLAS, was a 
French engraver but little known, who lived at 
the close of the 18th century. He appears to have 
devoted himself chiefly to religious subjects, and 
was the principal engraver of the collection of 
portraits of the members of the National Assembly 
of 1789, known as the “ Collection Sart 


A BIOGRAPHICAL DICTIONARY OF 


most skilful of the enamel painters who flourished _ 
at Limoges in the 16th century. His works are — 


COURBES, JEAN DE, was a French engraver, 
born about the year 1592. He was principally 
employed for the booksellers, but worked both in 
England and in Spain. We have by him the por- 
traits of Sir Philip Sidney and Mary, Countess of 
Pembroke. 

COURBET, GusTAvzE, a distinguished French 
painter, was born at Ornans (Doubs), on the 10th 
of June, 1819. He began the study of jurispru- 
dence, but at the age of twenty abandoned it for 
painting, and repaired to Paris, where he eventu- 
ally selected the school of David d’Angers. The 
ill-success that befell his early pictures only acted 
as a stimulus, and led him to a constant and 
close study of nature; and he selected intention- 
ally, with a view to bring the feeling of the 
public more into harmony with his own concep- 
tions, the details of every-day life as the field in 
which to exhibit his talents. 

-he could not fail in the result to command atten- 
tion. In fact it was not long before one of his 
works, entitled ‘The Conflagration,’ aroused the 
notice of the authorities, who condemned it as 
dangerous to the public welfare. His figure sub- 
jects were brilliant in colour and rich in tone, but 
were ill drawn and badly grouped. Other works of 
his again, though powerfully painted, were marred 
by the selection of subjects with a vicious tend- 
ency. His landscapes, however, being from the 
nature of their subject free from any such defects, 
could not fail, distinguished as they were by truth, 
simplicity, and very careful finish, to add consider- 
ably to his reputation. Nor were his animal pieces 
less pleasing, while his portraits gave proof in a 
still further direction of his being possessed of very 
remarkable talent. The unfavourable art criticisms 
which his early works had encountered appear to 
have embittered his mind to some extent against 
his brother artists, and at the Exhibitions of 1855 
and 1867 he had a separate building constructed 
to display his own pictures. ‘A Stormy Sea,’ (‘La 
Vague,’) exhibited in the Salon of 1870, was bought 
for the Luxembourg, and was exhibited at the Paris 
Exhibition in 1878. In 1871 his democratic tend- 
encies led him to join the Communists, who en- 
trusted him with the charge of the Museums. He 
took a leading part in the destruction of the 
Column in the Place Vendéme. On the fall of the 
Commune he was condemned to six months’ im- 
prisonment, as well as to the payment of an in- 
demnity for his share in the affair of the Place 
Vendéme. He eventually retired into Switzerland, 
where after a painful illness he died at La Tour-de- 
Peilz, near Vevay, on the 31st December, 1877. An 
exhibition of the works of the Painter of Ornans, 
as Courbet delighted to be called, was held in Paris 
in 1882. The Louvre has now the ‘Interment at 
Ornans’ (painted in 1850), the ‘ Combat de Cerfs’ 
(1861), the ‘ Hallali du Cerf’ (1867), the ‘Homme 
4 la ceinture de cuir, the ‘Homme blessé,’ and 
‘La Vague’ (1870). His other principal paintings 
were : 

The Woman with the Parrot. 1866. 

Afternoon at Ornans. (Jn the Lille Museum.) 1849. 

Landscape, near Honfleur. (Jn the Lille Museum.) 

The Stone-breakers. 1850. 

Stags in Spring-time. (Jn the Marseilles Museum.) 

La Fileuse. 1853. 

Les Baigneuses. 1853. 

The Painter’s Studio. 1855. 

La Remise aux Chevreuils. 1866. 

La Sieste pendant la saison desfoins. 1869. 


syretas JEAN, called VIGIER, was one of the 


Being really gifted | 


4 


f 


very rare and bear the dates 1556 and 1557 only. 
Almost all are painted in grisaille on a black 
ground, and heightened with gold, the flesh being 
tinted. Some of his enamels are in the Louvre. 
He died about 1583, being then not less than 72 
years of age. Much confusion has existed on 


account of the similarity of the names and mono- 


grams, and often of the works, between this artist, 
Jean de Court, and Jean Courteys. ut 
COURT, JEAN pz, an enamel painter of Limoges, 
succeeded Francois Clouet as painter to the king 
in 1572, and was in turn succeeded by his son, 
CHARLES DE Court, in 1584 or 1589. Jean de Court 
painted in 1574 a portrait of Henry III., then Duke 
of Anjou. ; 
COURT, JosEPH Distr, a painter of historical 
subjects and portraits, was born at Rouen in 
1797. He became a pupil at the Ecole des Beaux- 
Arts under Gros, and after carrying off the princi- 
pal honours there pursued his studies still further 
at Rome. High expectations were formed of him 


when he exhibited in 1827 ‘The Death of Cesar,” 
o work manifesting earnest thought, and a con-: 


scientious handling of the facts of history. This 
is now preserved in the Louvre. Having shown 
himself in this and other works a vigorous painter, 
capable of seizing a subject with a masterly grasp, 
and having also in the region of portrait painting 
proved himself an artist of no common merit, he 
eventually dissipated his talents in the production 
of a series of empty official pictures painted by 
order of Louis Philippe. He died in Paris in 1865. 
The Bordeaux Museum has a portrait of Henri 
Fonfréde by him; that of Lyons, a ‘ Scene in the 
Deluge’; that of Rouen, ‘ Boissy-d’Anglas saluting 
the head of Féraud.’ | 
COURTEYS, JEAN, an enamel painter of Limoges, 
who died in 1586, was possibly-a younger brother 
of Pierre Courteys. To him are ascribed the 
numerous works signed J, (’., but M.. Darcel is 


inclined to believe that these are by Jean de 


Court. 


COURTEYS, Marri, a painter in enamel, who 


was working at Limoges in 1579-80, was distin- 

guished by his vivid colouring. Until lately he 

was known only by a round dish with ‘ Moses 

striking the Rock,’ formerly in the Debruge Col- 

lection, and now in that of Mr. Addington. He 

belonged to the school of Jean Courteys, and was 
erhaps his son. 

COURTEYS, Pirrre, one of the best enamel 
painters of Limoges, and an excellent designer and 
colourist, was probably a disciple of Pierre Rey- 
mond. ‘The dates affixed to his works range from 
1550 to 1568. In 1559 he executed for the facade 
of the chateau of Madrid, built by Francis I. and 
Henry II. in the Bois de Boulogne, near Paris, 
twelve oval medallions of the Virtues and the gods 
of Olympus, with figures the size of life. Nine 
of these are now in the Hétel de Cluny, and three 
are in England. They are the largest enamels 
which have ever been made at Limoges. Courteys 
is supposed to have died in 1602. Many of his 
works are in the Louvre. 

COURTIN, Jacquzs Frangois, a French his- 
torical painter, was born at Sens in 1672. He was 
a pupil of Louis de Boullongne, and painted the 
‘mai’ offered to the cathedral of Notre-Dame by 
the goldsmiths of Paris in 1707, the subject being 
‘St. Paul preaching at Troas.’ He died in Paris in 


: 


PAINTERS AND ENGRAVERS, 


‘1752, There is a ‘Dead Christ’ by him in the 


Brussels Gallery. | 
~ COURTOIS, GuitLaumE, commonly known as 
GuGLIELMo CorTESE, and also called Bourauienon, 
oF In BorGoGNone,) was the brother of Jacques 

ourtois, and was born at St. Hippolyte in 1628. 
He went to Rome whilst he was young, and became 
_ascholar of Pietro da Cortona. He did not how- 
ever follow the style of that master, but appears to 
have preferred that of Carlo Maratti, in his com- 
positions and the expression of his heads. He 
sometimes seems to have wished to resemble 
Guercino in the strength of his relief, and his 
azure backgrounds. His works most deserving of 
notice are a ‘Madonna, and several Saints,’ in the 
Trinita di Rellegrini; ‘Joshua’s great Battle,’ in 
the palace of the Quirinal, in which he was assisted 
by his brother ; and the ‘ Crucifixion of St. Andrew,’ 
in Sant? Andrea a Monte Cavallo, Rome. The 
‘Offering of Isaac’ by him is in the Dresden 
Gallery, and a picture of ‘The Burial of the Dead 
during the Plague in Rome’ in the Brussels 
Gallery. He died at Rome in 1679. His engrav- 
ings are now become excessively rare. They are 
not so highly finished as those of his brother Jacques. 
We have by him the following plates : 

A Burial during the Plague. 

The Presentation in the Temple. 

The Resurrection of Lazarus. 

COURTOIS, Jacques, commonly called by the 
Italians G1Acomo CorTEsE, and IL BoraGoenone, also 
known as BouRGUIGNON, was born at St. Hippolyte, 
in Franche-Comté, in 1621. He was the son of an 
obscure painter, Jean Courtois, who taught him the 
rudiments of design. At the age of fifteen he went 

to Milan, where he formed an intimacy with a 
_ French officer, who prevailed on him to enter the 

army, which he followed for some time; designing 
on every occasion the marches, the attacks, and 
skirmishes of which he was a witness. After three 
years’ service he quitted the military profession 
and returned to painting. At Bologna he became 
acquainted with Guido and Albani, and his inti- 
macy with those distinguished artists was of great 
advantage to his progress. He at length visited 
Rome, where his first attempts were some historical 
_ works, amongst which were ‘The Magdalen at the 
feet of Christ, in the church of Santa Maria; and 
in the Gesu, the ‘ Murder of the Innocents’ and the 
_ ‘Adoration of the Magi.’ The natural bent of his 
genius discovered itself on his seeing the admirable 
‘ Battle of Constantine’ by Giulio Romano, in the 
Vatican; and from that time he devoted himself 
to a branch of the art which he carried to a per- 
fection unknown before or after him. Michelangelo 
delle Battaglie, having seen some of his works, with 
a liberality not always found in a rival, was one of 
the most zealous publishers of his fame. Whilst 
he was in full possession of popular esteem, a cir- 
cumstance occurred which occasioned his retirement 
from the world. His wife, with whom he had not 
lived on the best terms, died suddenly ; and male- 
volence suspected and accused him of having 
poeoned her. This cruel accusation determined 
‘him to abandon society, and he took refuge with 
the Jesuits, of which body he soon afterwards 
became a member. But neither the gloom of a 
monastery, nor the affliction of his mind, could 
subdue his ardour or impoverish his talent, which 
he continued to exercise till his death, which 
occurred at Rome in 1676. 
The battle-pieces of Borgognone are composed 


with a fire and painted with a vigour peculiar to 
himself. His touch is admirable and of extra- 
ordinary facility, his figures and horses are drawn 
with all the spirit requisite in the attacks of the 
fiercest combatants fighting for honour and. for 
life ; and (as Lanzi expresses it) “in beholding his 
pictures we seem to hear the shouts of war, the 
neighing of the horses, and the cries of the 
wounded.”’ It is to be lamented that many of his 
works have blackened since they were painted. 
The following are some of the best of his works 
which are frequently met with in public galleries: 


Augsburg. Gallery. Battle-pieces. 
Berlin. Museum. Rocky Landscape (formerly assign- 
ed to Salvator Rosa), 
Cassel. Gallery. Battle-pieces. 
Dresden. Gallery. Battle-pieces (four). 
Edinburgh. Gaillery. Battle-pieces (three). 
Florence. Uffizi. Portrait of himself. 
if i Battle-pieces (four). 
‘3 Pitti Pal. Battle-piece. 
Hague. Gallery. Cavalry Combat. 
Munich. Pinakothek. A Battle-field after the fight. 
“ a A Battle-piece. 
Madrid. Gallery. Battle-pieces (two). 
Paris. Louvre. Cavalry Combat near a Bridge. 


Troops marching. 

Cavalry combat. 

Cavalry encounter. 

s Si Cuirassiers and Turkish Cavalry. 
Petersburg. Hermitage. Studies for Battle-pieces. 
Vienna. Gallery. Battle-pieces (three). 


” 99 
39 99 


39 29 


We have by this artist some etchings of battles, 
executed with uncommon spirit, and with a masterly 
effect of light and shadow. They are described 
in Robert-Dumesnil’s ‘ Peintre-Graveur,’ vol. i., 
and among them are the following: 

A set of Hight Battles ; Giac. Cortese fec. 

A set of Four Battles; J. C. 

COURTOIS, Jean. See CourTeys. 

COURTOIS, Mariz, a French miniature painter 
of considerable ability, was a pupil of Le Brun. 
She was born about the year 1655, married in 1675 
Marc Nattier, the portrait painter, and died in Paris 
in 1703. 

COURTOIS, Pierre Francois, was a French 
engraver, who was born in Paris in 1736. He 
engraved two plates from the designs of Saint- 
Aubin, but died at Rochefort in 1763. 

COUSEH, J., was an artist who, if not a native of 
England, at least resided here about the year 
1750. He engraved a view of Berkeley Castle, from 
a drawing by the Countess of Berkeley, and some 
other prints, which are neatly executed, and possess 
considerable merit. 

COUSEN, Cuarzes, a younger brother of John 
Cousen, and also a line engraver, worked chiefly 
for the ‘Art Journal,’ for which he executed up- 
wards of fifty plates. In early life he painted a 
few pictures, and exhibited once, in 1848, at the 
Society of British Artists. He, however, devoted 
his attention to engraving, and produced his first 
important plates for the Vernon and Turner Gal- 
leries. He continued his work to an advanced 
age, his last engraving, ‘Catching a Mermaid,’ 
after J. C. Hook, appearing a year before his death, 
which took place in November 1889. The follow- 
ing are his principal plates: 

The Opening of the Walhalla. 

Bacchus and Ariadne. 

The Loretto Necklace. 

Abingdon. 

A Féte Champétre ; after T. Stothard. \ For the Vernon 

The Bathers; after the same. Gallery. 


341 


After Turner: for the 
Turner Gallery. 


A BIOGRAPHICAL DICTIONARY OF ee aay 


A Persian Warrior; after W. Eity. For the Vernon 
The Ruined Temple; after R. Wilson. Gallery. 
The Hooka Badar. After Wilkie: for the Wilkie 
A Group of Camels. Gallery. 

The Pasture—Osborne; after T’. Sidney Cooper. 

The Queen’s Horses ; after J. F. Herring. 

The Home Expected; after W. Mulready. 

Rustic Civility; after W. Collins. 

Hulks; after Prout. 

The Cornfield; after Constable. 

Primrose Gatherers; after Bixket Foster. 

Touchstone and Audrey ; after J. Pettie. 

The Mountain Shepherd; after J. Linnell. 

Showery Weather; after Vicat Cole. 

Oxen at the Tank—Geneva; after Sir E. Landseer. 
The Shepherd; after Rosa Bonheur. 

Their only Harvest; after Colin Hunter. 

Home again; after E. A. Waterlow. 


COUSEN, Joun, a landscape engraver, was born 
at Bradford in Yorkshire in 1804, and was articled 
to John Scott, the animal engraver. His larger 
works after Turner, Stanfield, and others are of 
great excellence, but his exquisite taste is best 
displayed in his smaller plates after Turner, especi- 
ally those in the ‘ Rivers of France,’ which are full 
of poetic feeling. He died at South Norwood in 
1880, but had retired from the practice of his art 
some sixteen years before, in consequence of ill- 
health. 

His more important works are: 

Mercury and Herse; after Turner. 

Towing the Victory into Gibraltar ; after Stanfield, 

The Morning after the Wreck ; after the same. 

Calais Pier: Fishing-Boats off Calais. >) 


Snow-Storm: Hannibal and his Army After Turner : 


for the Turner 
Gallery. 


crossing the Alps. 
Peace: Burial at Sea of the Body of 
Sir David Wilkie. 
St. Michael’s Mount, Cornwall. 
The Battle of Trafalgar ; after Stanfield. 
The Canal of the Giudecca and Church 
of the Jesuits, Venice ; after the same. 
The Old Pier at Littlehampton; after 
Sir A. W. Calicott. 
Returning from Market; after the same. 
Cattle: Harly Morning on the Cumber- } 
land Hills; after 7’. Sidney Cooper. | 
yy 


For the — 
Vernon 
Gallery. 


The Mountain Torrent; after Sir E. 
Landseer. 

The Cover Side ; after F. R. Lee. 

Rest in the Desert ; after W. J. Miiller. 

A Woodland View; after Sir D. Wilkie. 


COUSIN, Jean, may be regarded as the founder 
of the French school, as previous to his time the 
painters of his country confined themselves to 
portrait painting. He was born at Soucy, near 
Sens, in 1500 or 1501, and died about 1589, at all 
events before 1593. Little is known of his life, 
with certainty, except that his first occupation was 
glass-painting at Sens, and that he afterwards 
established himself as a goldsmith at Paris, His 
principal work, as a painter, is the ‘ Last J udgment,’ 
which was formerly in the convent of the Minimes 
at Vincennes, but is now in the Louvre. It is a 
grand composition, and the design is more in the 
taste of Parmegiano than the French style. He 
was a sculptor as well as a painter, but he excelled 
especially as a painter upon glass. He was in 
every respect superior to his rival, Jean Duvet. 
As a painter on glass, the windows of the Sainte- 
Chapelle at Vincennes are his best works, They 
represent the ‘ Annunciation,’ the ‘ Approach of the 
Last Judgment,’ and full-length portraits of Francis 
I. and Henry II. Lenoir regards these magnificent 
windows as the finest monuments of painting upon 
weve te exist in France. He also painted 


‘in books, in the Bibliothéque Nationale, Paris, and 


;> A 
a ea 


windows in the Cathedral at Sens with the Legend 
of St. Eutropius, dated 1530, and others in the 
Chateau of Anet and elsewhere. The windows ~ 
which Cousin painted for the church of St. Gervais 
at Paris were destroyed about 1775. A picture of 
the ‘Descent from the Cross,’ bearing date 1523, 
in the Museum at Mentz, and other subject pic- 
tures, are attributed to him; and there also exist 
records of several family portraits by him: but 
the painting in the Louvre is the only known 
authentic work by his hand. It has been engraved 
by Pieter De Jode the elder. Various miniatures 


a 


Pe a ee eee ee 


elsewhere, are said to be by Cousin, who was also 
an engraver on metal, and has left etchings of the 
‘ Annunciation,’ the ‘Holy Family,’ the ‘ Descent 
from the Cross,’ the ‘Conversion of St. Paul,’ 
‘Bacchus and the Vintage,’ and ‘A Man holding a 
tablet.’ But it is by his designs for woodcuts, 
some of which he himself engraved, that Cousin is 
now best known. The most important of these are 
the designs which he made for the Bible published 
by Jean Le Clerc in 1596; the‘ Entrée de Henri II. 
a Paris,’ 1549 ; the ‘ Entrée de Henri II. et Catherine ~ 
de Médicis & Rouen,’ 1551; the‘ Hloge et Tombeau 
de Henri II.,’ 1560; the ‘ Livre de Coutumes de Sens,’ 
1551; the ‘ Vsaige et description de l’Holométre,’ 
1555; the ‘Songe de Poliphile,’ 1561; and the 
‘Métamorphoses ’ and ‘ Epistres’ of Ovid of 1566 
and 1571. In 1560 he published his ‘ Livre de Per- 
spective,’ and in 1571 his ‘ Livre de Pourtraicture,’ 
which treats of the proportions of the human figure, 
and displays considerable knowledge. 

.M. Ambroise Firmin-Didot published in 1872 an 
‘Etude sur Jean Cousin,’ which is very complete 
and full of interest, and in 1873 a folio ‘ Recueil 
des Giuvres choisies de Jean Cousin.’ 

COUSINET, CATHERINE HE. See LEMPEREUR. 

COUSINS, Henry, the brother of Samuel Cousins. 
was also an engraver, and practised in London. He 
engraved many portraits in mezzotint, and some 
other plates; among them ‘ Refreshment,’ after 
Landseer; ‘Prayer,’ after Sant; ‘The Infant Shake. 
speare,’ after Romney; and ‘ Home of the Home- 
less,’ after T. Faed. He died at Dorking in 1864. 

COUSINS, SAMUEL, mezzotint engraver, was 
born at Exeter, May 9, 1801, and received his 
early education in his native city. He is said to 
have astonished his friends while still a child by 
the truth and spirit of the portraits he was con-! 
stantly drawing in pencil. At the age of eleven . 
he gained a silver palette from the Society of Arts 
for a pencil copy of James Heath’s plate of the 
‘Good Shepherd,’ after Murillo, and in the follow- 
ing year won the Society’s silver medal. His 
vocation was determined by a chance meeting 
with the late Sir Thomas Dyke Acland, who saw the © 
boy sketching outside a printseller’s window in 4g 
Exeter. Recognizing the precocious talent of the i 
copyist, he helped him to London, where he was 
apprenticed to 8S. W. Reynolds. After working as 4 
an apprentice for seven years, Cousins remained  =— 
with Reynolds four years as assistant, and a a 
few plates of this date bear the joint signature 
of master and pupil. Cousins’ first independent 
work was a commission from Sir T. Dyke Acland 
for a plate after Lawrence’s group of Lady Acland , 
and her children. Lawrence was so pleased with: 
the result that he wished to engage the young’ 
engraver to work exclusively for him. This, how- 
ever, Cousins would not agree to. He, however, 
undertook a second plate after Lawrence, the 


See A et ee 


- 


‘a ai famous ‘ Master Lambton,’ which at once secured 
his reputation. In 1835 he was elected associate 
engraver of the Royal Academy, and in 1855 a 
_ Royal Academician. About 1872, being then over 
seventy years old, Cousins determined to retire 
_ from his profession. After a short term of idleness, 
however, he again took up the graver, and to this 
late period of his life belong such masterpieces as 
the ‘ Age of Innocence,’ ‘Penelope Boothby,’ ‘Sim- 
licity,’ and other plates after Sir Joshua, ‘ Miss 
ich,’ after Hogarth, and ‘Cherry Ripe,’ after 
Millais. During his long career he had amassed a 
fortune much in excess of his modest needs, and 
about ten years before his death he made a generous 
donation of £15,000 to the Royal Academy, to be 
used as a fund for pensioning destitute artists. 
_ In 1880 he retired from the Academy. He died 
in London, May 7, 1887. Some years before he had 
_ presented to the British Museum a (then) complete 
set of impressions from his plates, containing some 
__-vory rare states. His ewuwvre consists in all of about 
__- two hundred plates, of which the following are 
__ fpmous examples: : 
- Prince Metternich ; after Lawrence. 1827. 
Pius VII. ; after the same. 
Duke of Wellington; after the same. 1828. 
Sir Astley Cooper ; after the same. 
Lady Grey and Children; after the same. 
Miss Peel ; after the same. 
Lady Grosvenor; after the same. 
William Wilberforce; after the same. 
Bolton Abbey ; after Landseer. 
The Abercorn Family ; after the same, 
The Queen ; after the same. 
Return from Hawking ; after the same. 
The Queen receiving the Sacrament ; after the same. 
Christ weeping over Jerusalem ; after Str C. Eastlake. 
Shakespeare ; after the Chandos portrait. 
The Order of Release ; after Millais. 
The Minuet ; after the same. 
Yes or No? after the same. 
Yes! after the same. 
No! after the same. 
Pomona ; after the same. 
Marie Antoinette in the Temple; after E. M. Ward. 
Miss Bowles; after Reynolds. 1874. 
Lady C. Montagu ; after the same. 
Sylvia; after the same. 
Hon. Anne Bingham ; after the same. 
Lavinia ; after the same. 
' Princess Sophia of Gloucester ; after the same. 
Duchess of Rutland ; after the same. 


5 COUSSIN, Harpouin, was a French engraver, 
a born at Aix in 1709, who, according to Basan, was 
. resident at that place in 1760. He engraved at 
Lyons several plates after Puget, Rembrandt, and 
others. Nagler states that the name H. Coussin 
is found on some mezzotints which appear to be 
- the.work of an earlier artist. 
= COUSTAIN, Pierre, was a painter and sculptor 
A at the Court of Philip the Good. His name occurs 
in the records of the brotherhood of St. Luke at 
Bruges in the year 1450 as Painter Royal. 
COUTAN, AmABLE PAUL, was a French historical 
ainter, boru in Paris in 1792. He studied under 
ros, and obtaining the Academy pension was thus 
enabled later on to improve himself at Rome. Re- 
i - turning to his native country he produced works, 
. representing chiefly classical and mythological sub- 
jects, which realized considerable prices. He took 
a part also in the labour of decorating with religious 
subjects the church of Notre-Dame-de-Lorette. He 
died in Paris in 1837. 
COUTANT, Jean Louis Denis, a French en- 
graver, born at Argenteuil in 1776, was a scholar 


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PAINTERS AND ENGRAVERS. 


of Mechel of Basle. Among his principal works 
are the plates for the great work on Egypt, for the 
travels of Baron von Humboldt in the Cordilleiras, 
for the fossil bones of Cuvier, for the ‘Anatomy of 
the Brain’ by Langenbeck, and for Freycinet’s 
‘Voyage round the World.’ The date of his death 
has not been ascertained. 

COUTELLIER, ——, a French engraver of the 
latter part of the 18th century, is known by his 
theatrical portraits, the best of which are those of 
Mdlle. Olivier as Cherubino, and Mdlle. Contat as 
Suzanne in the ‘ Mariage de Figaro.’ 

COUTURE, Tuomas, a French historical and 
genre painter, was born at Senlis (Oise) in 1815, He 
studied under Gros and Paul Delaroche, and in 1837 
obtained the second ‘Grand Prix de Rome.’ His 
first appearance at the Salon was in 1840, when he 
exhibited ‘A young Venetian after an Orgy.’ In 
1847 appeared the picture (now in the Luxembourg) 
on which his fame chiefly rests, ‘The Romans in 
the Decadence of the Empire.’ He obtained medals 
in 1844, 1847, and 1855, and the Legion of Honour 
in 1848. He decorated the Chapel of the Virgin in 
the church of St. Eustache, Paris. Couture did not 
live on terms of amity with the art world, as he be- 
came involved in disputes, carried on with consider- 
able warmth, as to the relation of his art with that 
of the French classical school. He died at Villiers- 
le-Bel in 1879. Besides the works already named, 
the following are among his chief productions: 

Joconde. 1844. 

The Love of Money. 1844. (Toulouse Museum.) — 

The Falconer. 1855. 

Voluntary Enlisting. 

Baptism of the Prince Imperial. 

Damocles. 1872. 

COUVAY, JEAN, a French engraver, was born at 
Arles in 1622. He worked almost entirely with 
the graver, with an easy but delicate touch, his 
style in some points resembling that of Villamena. 
He sometimes marked his plates G: 


We have by him the following out of numerous 
cuts : 
Louis XIV. on Horseback, preceded by Fame ; after S. 
Bourdon. 
The Virgin and Child ; after Raphael. 
St. John in the Desert ; after the same. 
St. Benedict, tempted by the Devil, presenting a 
Crucifix ; after Guercino. 
The Virgin; after Blanchard. 
A Magdalen ; half-length ; after Lebrun. 
The Ascension ; after J. Stella. 
The Martyrdom of St. Bartholomew ; after Poussin. 
Mary, Queen of Scots; her execution seen through the 
window. 
A set of small prints, called ‘Les Tableaux de la Péni- 
tence’; after J. Chauveau. 
_ Portrait of Nicolas Sevin ; after Van Mol. 


COUVERCHEL, ALFRED, was born at Marseille- 
le-Petit in 1834. He studied under Picot and 
Horace Vernet. He made some advances in his 
master’s footsteps, and gained a certain ease and 
freedom, but was unable to liberate himself from 
a tendency to rawness in ‘his colouring, a fault 
which is apparent in his ‘Battle of Magenta,’ 
painted in 1861. He died at Croissy in 1867. 

COUWENBERG, ApranamM JoHANNES, a Dutch 
landscape painter, was born at Delft in 1806, and 
died at Arnhem in 1844. 

COUWENBERG, CHRISTIAEN VAN. See Kovu- 
WENBERG. 

COUWENBERG, Henricus WILHELMUS, a Dutch 
line-engraver and draughtsman, the phe 91 of 


A BIOGRAPHICAL DICTIONARY OF 


Abraham Johannes Couwenberg, was born at the 
Hague in 1814, and died at Amsterdam in 1845. 
He was a pupil of F. L, Huygens and of Taurel. 
Besides engraving some portraits, he began a plate 
of ‘Mignon and her Father,’ after Ary Scheffer, 
which was finished by Alphonse Francois, and 
another after G. Dou’s ‘Menagére Hollandaise,’ 
which was completed by J. W. Kaiser. 

COVYN, Reinier and IsreL, were two brothers, 
who were natives of Brabant, and flourished at 
Dordrecht about the middle of the seventeenth 
century. The elder, Reinier, painted market women, 
with dead game, vegetables, flowers, fruit, &c. A 
landscape, by him, is in the Brunswick Gallery. 
Isrel, the younger, attempted history, but was more 
successful in portraits. Neither of them went 
beyond mediocrity. 

COWEN, WIt14M, was a landscape painter, who 
exhibited views in Ireland at the British Institution 
in 1823, and sent landscape scenes in Switzerland, 
Italy, and France to the Academy until 1839. In 
1824 he published a series of six Italian and Swiss 
views, and in 1848 ‘Six Weeks in Corsica,’ with 
etchings by himself. 

COWPER, Doveias, was born at Gibraltar 
in 1817. When seventeen years of age he won 
from his parents—who were unwilling to allow 
him to become a painter—a reluctant consent 
to his leaving home,‘ and making his way to 
London, he obtained admission to the Royal 
Academy schools, and soon carried off the silver 
medal for the best copy in painting. His first 
exhibited works, produced when only twenty 
years of age, were a portrait and the ‘Last Inter- 
view,’ followed in 1838 by ‘Shylock, Antonio 
and Bassanio,’ and in 1839 by his master-piece, 
‘Othello relating his Adventures.’ He exhibited 
no more at the Academy, and he painted but five 
more pictures, four of which he sent to the Suffolk 
Street Gallery. He died in Guernsey in 1839, at 
the early age of twenty-two, having lived only 
just long enough to justify his own determination 
to be an artist, and to show the world what great 
things he might have done. 

COX, Davin, an eminent landscape painter both 
in water-colours and in oil, was born at Deritend, 
Birmingham, on the 29th of April, 1783. As a 
boy, he was taught to wield the large hammer used 
in his father’s trade, that of a whitesmith ; but, as 
his mother feared he was too delicate for this work, 
he was apprenticed in 1798 to a maker of lockets 
and brooches, which he adorned with miniature 
designs. He studied drawing at a night school 
kept by Mr. Joseph Barker (q.v.). He was, how- 
ever, not very long engaged in this field ofindustry, 
for his master died soon after he was apprenticed. 
He next obtained employment as a colour-grinder 
to the scene-painters of the Birmingham Theatre, 
then under the management of the elder Macready. 
From this subordinate post he very soon rose 
to assist in the painting of scenes, and on one 
occasion designed and executed the entire scenery 
for a new play about to be produced. On the public 
announcement of the piece, however, he was disap- 
pointed at seeing the whole credit of his share in 
its production given to an imaginary artist of 
London fame, and remonstrated against being 
thus robbed of his well-earned honours. Cox 
did not remain much longer connected with the 
management of the Birmingham and Leicester 
theatres. In 1804 he came to London, and for a 
aa Vy intaaci employment in the scenic depart- 


\ 


ment at Astley’s Theatre, but only as a temporary — , 


resource till other arrangements more suited to his 
habits, which were of a homely turn, could be 
made. In London he received a few lessons in 
water-colour painting from John Varley. Shortly 
after, he retired into private life, and made a 


scanty income by teaching drawing, principally at | 


schools, and by making sketches, which he sold 
for a few shillings each, but which are now worth 
more than as many pounds. At length a wealthy 
patron appeared who sought him out in his humble 
retreat at Dulwich, and from this point his fortunes 
began to move in advance. His pupils increased 


in number, and in remunerativeness, and his— 


sketches began to command higher prices. In 
1805 he took his first trip into North Wales, and 
visited some of the most romantic spots of the 
Principality, which was ever afterwards his 
favourite haunt. | 

David Cox was elected a member of the Society 
of Painters in Water-Colours in 1813, and in the 
year following he was appointed a teacher at the 
Military College at Farnham. This occupation, 
however, did not suit him, and, probably for the 
sake of the surrounding scenery, he removed to 
Hereford in 1814, where he was drawing-master 
in a ladies’ school, and in the same year published 
a ‘Treatise on Landscape Painting and Effect in 
Water-Colours.’ He returned again to London in 
1827, but finally retired to Harborne, near Birming- 
ham, in 1841, where he resided until his death, 
which occurred on the 7th of June, 1859. 

Although best known by his water-colour draw- 
ings, David Cox painted also in oil. He first 
began to use this medium in 1839, in which year 


he received some lessons from William Miller. . 


The total number of his oil pictures has been 
estimated by competent judges at a little over one 
hundred, of which fifty-seven were exhibited at 
Liverpool in 1875. Several of them were sold in 
the Gillot sale in 1872 for very large amounts. 
His best works in oil, and the dates at which they 
were executed, are as follow: 


Outskirts of a Wood. 18438. 
Washing Day. 1843. 

Caer Cennen’Castle. 1844. 
Vale of Clwyd. 1846 and 1848, 
Peace and War. 1846. 
Lancaster Castle, 1846. 

Old Mill at Bettws. 1847. (Bury Art Gallery.) 
Counting the Flock. 1847. 

Changing Pasture. 1847. (Birmingham Art Gallery.) 
Collecting the Flocks. 1848. 

Going to the Hayfield. 1849. 

The Skylark. 1849. 

The Welsh Funeral. 1850. 

Rhyl Sands. 1854-5. (Birmingham Art Gallery.) 
Skirts of the Forest. 1855-6. (Birmingham Art Gallery.) 


The finest among the innumerable drawings 


which David Cox produced in the course of his 
fifty years’ practice of art may also here be 
mentioned : 


Cader Idris. 1828. 

Lancaster Sands. 1885. 

Ulverstone Sands. 1835. 

Hardwick Hall (three interior views). 1839. 
The Stubble-field with Gleaners. 1843. 
Bolsover Castle. 1843. 

The Flood at Corwen. 1846. 

The Outskirts of a Forest. 1846. 

Caer Cennen Castle (the ‘ Rain Cloud’). 1847. 
Windsor Park. 1846. 

Bolton Abbey. 1847. 

The Skylark. 1848. 


se wat A AR AP Gol ait 


on Fea at i dp iakt eyo. 


pe 


4 TREE ay Fee pea 


7 an ae 


+ ae 


Be ‘ 

The Welsh Funeral. 1850. 

j Broom Gatherers on Chat Moss. 1854. 
Peat Gatherers returning from the Moors. 
‘The Falls of the Llugwy. 1859. 


_ Besides several ‘ Hayfield’ and ‘ Harvest’ subjects, 
full of atmosphere and summer sunshine. 
_ David Cox was the true child of nature. There 
was a native simplicity in his character, and a 
masculine vigour about his touch, which have 
_ never been surpassed; and his effects, whether 
of mountain or dell or fruitful plain, of foam- 
ing torrent or meandering stream, such as so 
grandly diversify the scenery of this favoured 
isle, were always striking, and often imposing, 
though they never overstepped the modesty of 
‘nature. 
va Wales was the country above all others which 
_ Cox loved, and in the neighbourhood of Bettws-y- 
_ coed he worked for years. ‘The little inn there, 
_ £The Oak,’ (writes the author of ‘Our Living 
-___ Painters,’ in 1859,) is indeed a classic spot, and 
troops of painters now flock thither in the season, 
sit in the parlour whose wall David Cox has him- 
self decorated in fresco, and with pipe, and jug, 
and talk while the long summer twilights pleasantly 
_ away.’’ There he painted for the ‘ Royal Oak’ the 
_sign-board which in 1880 became the subject of a 
_law-suit, which happily ended in the picture re- 
maining in the inn for which it was intended. 
Forty-two drawings by David Cox were be- 
queathed to the British Museum by Mr. John 
Henderson in 1878, and there are twenty-two in the 


1856, 


comparatively unimportant. Eighteen examples 

were exhibited at the Manchester Art Treasures 
_ Exhibition in 1857, upwards of twenty in the 

International Exhibition of 1862, and thirty-two 
in the Leeds Exhibition of 1868. Special exhi- 
bitions of his works were held at Hampstead in 

1858, at the German Gallery in London in 1859, 

at Manchester in 1870, and at the Liverpool Art 

Club in 1875. Out of this last gathering arose the 

project of a Cox ‘ Liber Studiorum,’ in which the 

plates were to have been engraved by the painter’s 

friend Edward Radclyffe, but the death of the 

engraver caused the work to be abandoned when 
hy only three plates—‘ Dudley Castle,’ the ‘ Outskirts 
ia of a Forest,’ and ‘ Bala Lake,’—had been completed. 
e An exhibition of nearly five hundred pictures 
and drawings by Cox was held in the Birmingham 
ie Corporation Art Gallery in 1890. This Gallery 
Ie has a collection of thirty-five landscapes in oil by 
| Cox which were bequeathed by Mr. J. H. Nettlefold. 
e There are also some good examples in the Bury 
4 Art Gallery. 

t A ‘Memoir of David Cox’ by Mr. Neal Solly was 

. ublished in 1875, and a ‘ Biography of David Cox’ 
— -by William Hall in 1881. 

COX, Davin, the younger, the only child of 
David Cox the elder, was born at Dulwich in 1808. 
He was a pupil and imitator of his father. Though 
a good master, and socially a well-known figure, 
he never attained to much reputation as an artist. 
He first exhibited at the Royal Academy in 1827, 
There is one water-colour drawing by him in the 
Victoria and Albert Museum. From 1841 to 1846 
he was a member of the New Society of Water- 
Colour Painters. In 1848 he was elected an 
Associate Exhibitor of the Society of Painters in 
Water-Colours. He resided for the greater part 
of his life in London. He died at Streatham Hill, 
December 6, 1885, 


South Kensington Museum, but most of them are. 


PAINTERS AND ENGRAVERS. 


COXIE, Micurmt van, (Cocxiz, Coxciz, Coxis, 
CoxcIEN or CoxcyEn,) a Flemish painter, was born at 
Mechlin in 1499. He was first instructed by his 
father, Michiel van Coxie the elder, and afterwards 
at Brussels by Barend van Orley, with whom he 
visited Rome, and studied especially the works of 
Raphael. Indeed, his almost servile imitation of 
that master procured for him later the appellation 
of the Flemish Raphael. His talents brought him 
800n into notice, so that he was engaged for the 
execution of several important works in that city, 
and when he became acquainted with Vasari, he 
had already painted two chapels in Santa Maria 
dell’ Anima, On his return to Flanders he was, in 
1539, received a member of the Guild of St. Luke 
at Mechlin, and came to be much employed. There 
are many of his works in the churches of Brussels 
and Antwerp that establish the real worth of his 
talents, He also painted several large works for 
the Emperor Charles V. and for Philip II., King of 
Spain, by whom he was chosen court painter. He 
died at Mechlin in 1592, The following are his 
most important works : ? 


Martyrdom of St. Sebastian. 1575. 
Martyrdom of St. George. 
Martyrdom of St. Margaret. 

The Triumph of Christ. 

The Adoration of the Lamb. 

The Almighty. 

(Parts of the altar-piece by the Van 
Eycks at Ghent, which was copted 
by him for Philtp II. of Spain. 
The rest of the copy ws in the 
Munch Gallery, and in St. Bavo 
at Ghent.) 

St. Francis Xavier preaching to 

the Heathen. 

The Last Supper. 

Death of the Virgin. 

Christ derided by the Jews. 

The Resurrection of Lazarus. 

Christ washing the feet of the 
Apostles. 

- Christ on the Mount of Olives. 

S. James. The Nativity. 

Re Christ on the Cross between the 
two Thieves. 

Resurrection of Christ. 

St. Cecilia. 

is * Scenes from the Life of the Virgin. 

Petersburg. Hermitage. The Annunciation. 

Vienna. Gallery, Virgin and Child. 


He also designed 32 subjects from the Fable of 
Cupid and Psyche, which are amongst his best 
works, They have been engraved by Agostino 
Veneziano and the Master of the Die. In con- 
junction with Barend van Orley, he undertook the 
direction of the execution of some tapestry made 
after Raphael’s cartoons. His son, RAPHAEL VAN 
Cox1z, who was received as a Master in the Guild 
of St. Luke at Antwerp in 1585, was much inferior 
to his father. He was born at Mechlin in 1540, 
and died at Brussels in 1616. 


COYPEL FAMILY. 
Noél (1628—1707). 
Married 


Antwerp. Museum. 
rb) ” 
39 39 
” 29 
Berlin. Gallery. 


29 29 


Bruges. Ch. of the 


Jesuits. 
Brussels. Museum. 


39 33 


2 8 Gudule. 
bd 3” 
Ee 
Ghent. 


” 


Madrid. Gallery. 


SES IP, 
2nd, Anne Francoise Perin 
(died 1728). 


Pitino eb ran tacceator 
1st, Madeleine Hérault (1635—1682) 


Antoine (1661—1722). Noél Nicolas (1692—1734). 


Charles Antoine (1694—1752). 


COYPEL, Anror1nz, the son of Noél Coypel, 
was born in Paris in 1661. His father instructed 


| him in the art of painting, and took him when but 


eleven years of age to Rome, where he had been 


345 


A BIOGRAPHICAL DICTIONARY OF 


appointed director of the French Academy. But 
neither the masterpieces of Rome, nor the example 
of his father, could inspire him with a feeling for 
the truly grand and beautiful. He preferred the 
style and counsel of Bernini to the study of Raphael 
and the Carracci; and the depravity of his taste was 
confirmed by his returning to Paris at the age of 
eighteen; that is to say, he left Rome precisely at 
the time that he should have gone there. He was 
only nineteen when he painted his picture of the 
‘ Assumption’ for the cathedral of Notre-Dame, and 
but twenty when he was received into the Academy. 
He was taken into the employment of the court, 
and became one of the most popular painters of 
his time. It is curious to compare the criticism of 
two of the most esteemed of the French biogra- 
phers respecting the works of this painter. “No 
artist,” says D’Argenville, “‘ possessed the poetry of 
the art in a higher degree than Antoine Coypel. 
Formed by nature for the grandest compositions, 
the fertility of his genius displays itself through 
all his works. He was graceful in the airs of his 
heads, painted children in the greatest perfection, 
and was, above all, attentive in expressing with 
propriety the passions of the soul.” A less favour- 
able judgment is pronounced by Watelet: “ Be- 
cause,” says that writer, “he was equal to the 
production of a great machine in the theatrical 
style, he was conceived to possess the poetry of the 
art; because he gave to his heads a physiognomy 
purely French, they are thought to be beautiful. 
His coquetry is called grace, a grace to be learned 
of the dancing-master. He consulted the comedian 
Baron for the attitudes of his most exalted charac- 
ters, and travestied a hero of antiquity into a 
puppet of the theatre.” 

It cannot, however, be denied that Antoine 
Coypel possessed those qualities which are found 
in the artists most admired in his country, quali- 
ties which perhaps were necessary to the gratifica- 
tion of national feeling, and the acquisition of 
popularity. His principal works in Paris were, 
‘Christ among the Doctors,’ and the ‘ Assump- 
tion,’ in the cathedral of Notre-Dame; and ‘ Christ 
healing the Blind at Jericho,’ at the Carthusians. 
He was much employed in decorating the royal 
palaces, and was made principal painter to the 
. king in 1716, besides holding other important 


— > posts. The Louvre possesses his ‘ Athaliah driven 


from the Temple,’ ‘Susannah accused by the 
filders,’ ‘Esther before Ahasuerus,’ and ‘ Rebecca 
and Eliezer,’ as well as between two and three 
hundred drawings and sketches by him. His 
own portrait by himself is in the Uffizi, Florence; 
the Lille Gallery possesses a picture of ‘ Athalide 
et Roxane,’ taken from the ‘ Bajazet’ of Racine; 
and the Bordeaux Museum, a ‘ Triumph of Apollo.’ 
In the Dublin National Gallery is a picture of 
‘Christ healing one possessed by a Devil,’ dated 
1717. Antoine Coypel died in Paris in 1722. We 
have by him several etchings, executed in a finished 
and masterly style, among which are the following : 


Melchizedek presenting the Bread to Abraham. 

Judith ; half-length; finished by Simoneau. 

The Baptism of Christ. 

Ecce Homo; finished by Simoneau. 

The Virgin and Infant, in an oval. 

The Virgin suckling the Infant. 

St. Cecilia. 

Cupid conquering Pan. 

Bacchus and Ariadne; finished by G. Audran; very 
fine. 1693. 

The Triumph of Galatea; finished by Simoneau ; fine. 
346 


The Head of Democritus. 1692. ; Vid Gaiety ic 
The Portrait ‘of La Voisin, who was broken on the 
wheel for poisoning ; two plates, large and small. 


COYPEL, CHARLES ANTOINE, a painter and 
etcher, who was the son of Antoine Coypel, was 
born in Paris in 1694. He was instructed by his — 
father, whose style he followed, although in a very 
inferior manner. He quitted historical subjects to 
paint bambochades, but was not successful even 
with these, his taste for the theatre frequently 
betraying itself in his pictures in the artificial com- 
position and in the forced position of his figures. 
There are two specimens of his work to be seen 
in the Louvre. He executed a portrait of himself 
at about the age of fifty, in which he is represented 
leaning against a table, and holding a porte-crayon. 
In fact, his best works as a painter are his por- 
traits; that of Adrienne Le Couvreur has been 
admirably engraved by Pierre Imbert Drevet. C. A. 
Coypel etched a series of the Muses, a caricaturo 
‘Histoire d’une Dévote,’ and some other subjects 
@ la mode, which are of but little interest. He 
died in Paris in 1752. 

COYPEL, Noiit, a French painter, was born in 
Paris in 1628. He was first placed under the 
tuition of an artist named Poncet, at Orleans; but 
at the age of fourteen he became a scholar of Quil- 
lerier, under whom he acquired sufficient ability to — 
be employed by Charles Errard, who was charged 
with the superintendence of the works at the 
Louvre. It was not long before he distinguished 
himself, and he was received into the Academy in 
1663. The picture he painted for his reception 
was ‘Cain and Abel.’ It was about the same 
time that he painted his celebrated picture of the 
‘Martyrdom of St. James,’ for the cathedral of 
Notre-Dame. He was now regarded as one of the 
ablest artists of France, and was appointed by the | 
king director of the French Academy at Rome. — 
Thither he went in 1672, and presided over the 
Academy with great reputation for three years. 
It was during his residence there that he painted 
his four easel pictures for the king’s cabinet, repre- 
senting ‘Solon explaining his laws to the Athenians,” 
‘Trajan giving public audience to the Romans,’ 
‘Ptolemy Philadelphus giving liberty to the Jews,’ 
and ‘ Alexander Severus distributing corn to the | 
Roman People.’ These pictures were publicly 
exposed at Rome in the Rotonda, and gained him 
great reputation. They are now placed in the 
gallery of the Louvre, where is also preserved his 
picture of ‘Cain and Abel,’ as well as several other 
paintings representing classical subjects. He 
appears to have imitated in these works the style 
of Poussin and Le Sueur. His colouring is tender, 
warm, and clear, and his execution careful. After 
his return to Paris, Coypel was employed on several 
fresco paintings in the Tuileries. His last work, 
the fresco of the ‘Assumption of the Virgin,’ over 
the high-altar of the church of the Invalides, was 
executed at the advanced age of 78, and may be 
considered as one of his best productions. A 


picture by him of ‘Susannah accused of Adultery’ _ = 


is in the Madrid Gallery ; and the Bordeaux Museum 
has an ‘Allegory’ by him. Many of his paintings 


have been engraved by Poilly, Duchange, Cochin, — - 
| and others. > 


Noél Coypel married in 1659 Mapr- 
LEINE HERAULT, the sister of Charles Hérault, 
the landscape painter, and herself an artist of 
ability. She was born in 1635, and died in Paris 
in 1682. In 1685 Coypel married, as his second 
wife, ANNE FRANCOISE PERIN, a young artist whose 


works have long since been forgotten. He died 
: in Paris in 1707. His widow married Frangois 
_ Bonart, a painter and engraver, and died in Paris 
in 1728. Noél Coypel has etched the following 
plates : 
____-‘The Virgin caressing the Infant Jesus. 
____-‘ The same subject ; larger. / 
The Holy Family. Ree 
2 COYPEL, Not Niconas, a painter and etcher, 
____ born in Paris in 1692, was a younger son of Noél 
_ Coypel. He received his first instruction from his 
_ father, whom he had the misfortune to lose when 
he was fifteen years of age. It does not appear 
P ‘studied from the best works of art in his own 
country, and became of sufficient celebrity to be 
‘received into the Academy in 1720, when he was 
twenty-eight years of age. His reception picture 
was ‘Neptune carrying off Amymone.’ Amongst 
4 his best works were, the ceiling of the chapel of the 
____ Virgin in the church of St. Saviour, and the altar- 
__—__— piece in the same chapel, representing the Assump- 
tion. His ‘Triumph of Amphitrite,’ painted in 
1727, was considered the best work that entered 
_____ the lists for the royal prize then offered. There 
-__- are several other works of this artist in the churches 
of Paris. He died in Paris in 1734. We have the 
four following plates etched by him: 
i St. Theresa, with several Angels 
‘The Triumph of Amphitrite. 
) ae Jupiter and Antiope. 
_ A young Woman caressing a Dove; afterwards finished 
by WV. Edelinck. } 


~ COZENS, ALEXANDER, a natural son of Peter the 
Great and an Englishwoman from Deptford, was 
born in Russia at the beginning of the 18th cen- 
tury, but studied painting in Italy, and then pro- 
2 ceeded, in 1746, to England, where he died, in 
---  Toondon, in 1786. He exhibited at the Royal 
Academy from 1772 to 1781. Some tastefully- 
designed pen-and-ink sketches by him are in the 
British Museum, but he chiefly devoted himself to 
giving instruction and writing various books on 
art, adorned with numerous illustrations, among 
which are ‘ The Principles of Beauty, relative to the 
Human Head’ (1778), and ‘The Shape, Skeleton, 
and Foliage of Trees’ (1771). The South Ken- 
sington Museum has two Landscapes by him. 
COZENS, Jon Ropzrt, the son of Alexander 
Cozens, was born in London in 1752. He visited 
Italy, and after his return, in 1783, painted in water- 
colours with great success. He possessed great 
taste in representing scenes of a still, tender, 
or melancholy nature. In 1794 he became de- 
ranged, and died in 1799, The South Kensington 
Museum has five examples of his work. 

-COZZA, Caro, was the son of Giovanni Battista 
Cozza, and was born at Ferrara about the year 
1700. He was instructed by his father, in whose 
style he painted several pictures for the churches of 
his native city. In the Chiesa Nuova is a picture 
by him of the ‘Annunciation ;’ in Santa Lucia 
of ‘St. Anthony the Abbot;’ and in San Matteo 
of ‘St. Francis of Paola.’ He died at Ferrara in 
1769. 

COZZA, Francesco, a painter and etcher, was 
a Calabrian, born at Istilo in 1605. He went 
early in life to Rome, and became a scholar of 
Domenichino, to whom he attached himself by the 
most marked affection, and, according to the Abbate 
Titi, finished some of the works of that master 
after his death. He was received into the Aca- 


that he had the advantage of seeing Italy; he. 


PAINTERS AND ENGRAVERS. 


demy at Rome in 1650, and died in that city in 
1682. One of his best works is the ‘ Vergine del 
Riscatto,’ in the church of Santa Francesca Romana 
at Rome. The Copenhagen Museum possesses a 
‘Landscape, with Hagar and the Angel,’ by him. 
He etched several excellent plates in the style of 
Pietro del Po, as: 

St. Peter. 1630. 

Cimon and Pera. 

Christ sleeping and adored by Angels. 

St. Mary Magdalene. 1650. 


COZZA, GIoVANNI BaTTisTA, was born at Milan 
in 1676. While he was yet young he settled at 
Ferrara, where he was much employed for the 
churches. Without great correctness of design, 
he possessed a copious invention, and an unusual 
facility of handling. Of his numerous works at 
Ferrara, the following are the principal. In the 
cathedral, the ‘Immaculate Conception ;’ at the 
Ognissanti, the ‘Holy Family;’ in Santa Lucia, 
the ‘Annunciation;’ and in San Guglielmo, the 
Gee of the Virgin.’ He died at Ferrara in 

COZZALE, Grazio, (or CossaLzE,) was a native 
of Brescia, who flourished about the year 1605. 
He is said by Cozzando, in his ‘Ristretto della 
Storia Bresciana,’ to have possessed an uncommon 
readiness of invention, and in his larger works 
appears to have imitated the style of Palma 
without having sunk into his mannerism. His 
principal works are, the ‘ Adoration of the Magi,’ in 
S. Maria delle Grazie, at Brescia; and the ‘ Pre- 
sentation in the Temple,’ in 8S. Maria de’ Miracoli. 
This artist was assassinated by one of his sons. 

CRAASBECKE. See CRAESBEECK. 

CRABBE, Frans, (or VAN ESPLEGHEM,) was a 
Flemish painter, who became a master of the Guild 
of St. Luke at Mechlin in 1501, and is supposed to 
be the same as FRANS MINNEBROER. He was the son 
of Jan Crabbe, a painter, but it is not known under 
whom he studied. He painted in tempera, and 
possessed the faculty of giving his works so much 
vigour that they seem to be oil paintings. His 
heads are in the style of Quintin Massys, but in all 
other respects his portraits resemble those of Lucas 
van Leyden, His principal work was a triptych 
painted over the high altar of the church of the 
Franciscan convent at Mechlin, the principal subject 
of which was the ‘Saviour on the Cross,’ but this 
perished when the church was sacked by the Gueux 
in the 16th century. Crabbe died at Mechlin in 
1553, leaving a son, Jan Crabbe, who was also a 
painter, and who died at Mechlin in 1576. 

Crabbe is probably identical with the engraver 
who is known as the ‘Master of the Crab,’ by 
whom we have 50 plates, mostly in the style of 
Lucas van Leyden, but in some cases in that of 
Jan van Mabuse. ‘They are described in Bartsch’s 
‘Peintre-Graveur, vii. 527, and Passavant’s 
‘Peintre-Graveur,’ iii. 15, and among them the 
following are the best : 


The Annunciation. 

The Nativity. 

Christ taking leave of His Mother. 
The Passion ; fourteen plates. 
Christ on the Croas. 

Ecce Homo. 

The Four Evangelists; four plates. 
Jephthah’s Daughter. 

Esther before Ahasuerus, 

Lucretia. 


CRABETH, Apriaren, of Gouda. Three por- 


347 


A BIOGRAPHICAL DICTIONARY OF 


traits, in one picture, bearing the date 1560, attri- 
buted to him, are in the Darmstadt Gallery. 
CRABETH, Dirk and Wovrer, two brothers, 
were natives of Gouda. They flourished about 
the years 1560-1620, and surpassed all their pre- 
decessors in the art. Their principal works were 
fourteen of the seventy-five windows of the great 
church of St. John at Gouda. The best are the 
‘Baptism of Christ,’ ‘Our Saviour driving the 
Buyers and Sellers from the Temple,’ and the 
‘Last Supper,’ all by Dirk Crabeth; and ‘The 
Offering of Elijah before the Priests of Baal,’ the 


‘Nativity,’ and the ‘Sacrilege of Heliodorus,’ all — 


by Wouter Crabeth, the last-named being his 
master-piece, and the finest of all the windows, 
Although fine compositions, they are not in the 
best style of the art, and are rather poor in colour. 
Wouter visited France and Italy, and left in 
every town where he resided one of his glass- 
paintings. He distinguished himself by the light 
and brilliancy of his colouring, whilst Dirk ex- 
celled more in his vigorous touch. 

CRABETH, Wovrer PIETERSZOON, the younger, 
a grandson of the artist of the same names, was a 
scholar of Cornelis Ketel. After visiting France 
and Italy, and studying the works of the best 
masters in Rome, he settled down in Gouda in 
1628 as a portrait and historical painter. In 1628 
he painted for the church of Purmerende an 
‘ Assumption of the Virgin,’ and in 1644 a ‘ Feast of 
a Shooting Club,’ which is still preserved at Gouda. 

CRABETJE. See ASsELIIN. 

CRACO, Jan, a Dutch portrait painter, who 
flourished in the latter half of the 18th century, 
was a native of Utrecht. He afterwards resided 
at Amsterdam, in which city he died. 

CRADOCK, Luxe, an English painter of birds, 
dead game, and animals, in which he particularly 
excelled. He was born at Somerton, near Ilchester, 
about the year 1660, and served an apprenticeship 
to a house-painter in London. Without the help 
of an instructor, he became a faithful delineator 
of birds and animals, which he painted with a free- 
dom and a fire that entitled him to more dis- 
tinction and a more liberal remuneration than he 
received during his life. After his death, as has 
but too frequently been the lot of artists, his 
works were sold at three or four times the price 
he received for them when living. He died in 
London in 1717. 

CRADOCK, Mary. See BEALE. 

CRAESBEECK, Joosr van, (CRAASBECKE, or 
GRAASBECK,) the pot companion and scholar of 
Adriaan Brouwer, was born at Neerlinter, in South 
Brabant, in 1608. He was bred a baker, and had 
settled at Antwerp in that capacity at the time 
when Brouwer visited that city, Alike in their 
habits of debauchery, an acquaintance Sprang up 
between them, and Brouwer became Craesbeeck’s 
inmate on quitting the protection of Rubens. 
Craesbeeck forsook his oven, and became the dis- 
ciple of his friend, and it is surprising that a 
person who had never practised painting until he 
had reached the age of thirty should have arrived 
at a proficiency which is sufficient to rank him 
among the meritorious artists of his country, par- 
ticularly as a colourist. He was inscribed as a 
citizen of Antwerp in 1631. In 1633-34 he entered 
the Guild of St. Luke at Antwerp, and in 1651 that 
at Brussels, where he was still living in 1654. The 
date of his death is not known, but it was cer- 


ie before 1662, His paintings represent scenes 


drunken brawls. 


in taverns, guard-room subjects, low fights, and 
Those of his works that are of 
a nobler character are executed in the style of — 


delicate brush, and an excellent colouring. = = 
Among his paintings, many of which are signed _ 
J.V.C.8£., there are the following: ri 


Amsterdam. Museum. Portrait of Hugo de Groot. 
Berlin. Gallery. Peasant with felt hat. 
Madrid. Gallery. The Marriage Contract. 
Paris. Louvre. 
trait. . 
Petersburg. Hermitage. Le Lever. 
Schleissheim. Aren- 
berg Gallery. § wer’s portrait. : 
Vienna. Gallery. Soldiers and Women talking. 


CRAEYER, Gaspar bE. See Dz CRAYER. 

CRAFT, Witi1Am H., an enamel painter, ex- 
hibited fancy and allegorical subjects and portraits 
at the Royal Academy from 1774 to 1781. He 
died after 1787. He was most probably a brother © 
of Thomas Craft, who was an artist at the Bow 
Porcelain Works. 

CRAIG, Winit1aM MarsHALL, exhibited at times 
at the Royal Academy, from 1788 till 1827. He 
first lived at Manchester, but settled in London 
about 1791. He was painter in water-colours to 
the Queen, and miniature painter to the Duke and 
Duchess of York. He also excelled as a draughts- 
man on wood, and as a book illustrator, and he 
published in 1821 ‘Lectures on Drawing, Paint- 
ing, and Engraving.’ He is said to have been a 
nephew of Thomson, the poet. 
Soldier’ by him is in the Water-Colour Gallery at 
the South Kensington Museum. . 

CRAMER, Nicoiaas, a Dutch painter, was born 


' 


at Leyden in 1670. According to Van Gool, he ~ 2 


was for some time a scholar of Willem Mieris, 
but afterwards studied under Karel De Moor, whose 


Rembrandt, and painted with a fine chiaroscuro,a 


e 
a, | 
ae i 


The Artist himself painting a por- — 


The Artist’s Studio, with Brou- 


‘The Wounded 


manner he followed. He painted subjects taken a 


from private life, and portraits in small. His — 
pictures of that description are seen in the best 
collections in Holland, and are deservedly admired. 
He died in 1710. a a 

CRAMER, Peter, who was born at Copenhagen 
in 1726, was a self-taught artist who prepared the 
drawings for the illustration of Norden’s ‘ Travels 
in Egypt,’ and then became a decorative and the- 
atrical painter. 
executed popular Danish scenes in the style of 
Teniers, and several of his pictures were engraved 
by Haas, Kleve, and Clemens. He died at Copen- 
hagen in 1782. 

CRANACH, Hans, appears to have been a third 
son of Lucas Cranach the elder. Schuchardt, who 
discovered his existence, credits him with an altar- 


Together with this occupation he 


piece at Weimar, signed with the monogram H.C., 


and dated 1537. He was still living in 1553. 
CRANACH, Jonann Lucas, the eldest son of 
Lucas Cranach the elder, was born about 1503. 
He died at Bologna in 1536. Luther mentions his 
death in his ‘Table Talk,’ and Johann Stigel, a 
contemporary poet, celebrates him as a painter. 


CRANACH, Lucas, (or Kranaco). The proper, 


name of this master is a matter of some uncer- 
tainty. Of late years it has been thought to be 
SUNDER, and he is to be found in most histories 
under that name, but Herr Warnecke (‘ Lucas 
Cranach der Aeltere,’ 1879,) has recently brought 
forward evidence to show that it was MULLER, as 
formerly supposed. This evidence, however, chiefly 
consists in a phrase in a narrative of Valentin 


nae 


is ra 
eet Z are 
pL a. = 

x . 


aa le 


Pacts 


we 


a 


: a 


LUCAS CRANACH 


Bruckmann photo| [Dresden Gallery 
THE AGONY IN THE GARDEN 


=! iat & 
.: 


Sternenboke, written in 1609, which runs as 
-follows—“ And the Emperor asked him how he 
was called, and he replied that he was called by his 
_ parents Lucas Muller, out of the town of Cranach 
in Franconia, but on account of his art he was styled 
Lucas the Painter, and the Elector of Saxony had 
~ named him, from his native land, Lucas Cranach.” 
_ The evidence for the name of Sunder likewise 
rests on very slight foundation. 
But whatever be his name, he was certainly 
- born at Kronach in the bishopric of Bamberg 
on the 4th of October, 1472. He is said to have 
learnt his art from his father, who is supposed 
also to have been a painter, though none of his 
works remain. It is not known where his early 
years were spent, but it is surmised that he lived 
- gome time in Gotha, where he married a cer- 
tain Barbara Brengbier, who, although affirmed by 
_ tradition to have been extremely ugly, is never- 
theless celebrated as having been a most excellent 
_ wife and mother. He is stated to have accom- 
panied the Elector Frederick the Wise to the 
Holy Land in 1493, but this is not certain. In 
_ ,1504 we find him established at Wittenberg as 
court painter to Frederick the Wise, who in 1508 
bestowed on him a coat of arms and patent of 
nobility. He was evidently a man of importance 
in Wittenberg, for he was twice (in 1537 and 1540) 
__ elected Burgomaster of the town, where he carried 
on, besides his large art workshops, a book-printing 
_ business and an apothecary’s shop. His house in 
Wittenberg, called the “ Adler,” was standing till 
1871, when it was unfortunately destroyed by fire. 
In 1509 Cranach was sent by the Elector on an 
embassy to the art-loving Emperor Maximilian, 
but nothing is known as to their intercourse, ex- 
cept that he took the portrait of the young Prince, 
afterwards Charles V. Cranach, however, after- 
wards executed some of the drawings in what is 
called ‘Maximilian’s Prayer-book,’ so one may 
imagine that some relations continued to exist 
between them. Cranach held the office of court 
painter to the House of Saxony under three suc- 
‘ cessive Electors, the last being the noble but 
¥ 
4 
% 
? 


ill-fated Frederick the Magnanimous, to whom he 
was so much attached, that after the battle of 
Mihlberg in 1547, he shared and enlivened his 
captivity at Augsburg, being also, it is said, instru- 
mental in procuring his release from Charles V. 
In 1552, when the Elector was at last set free, 
Cranach, then a very old man, followed his lord 
_ to Weimar, where our master died at the age of 
80, on the 16th of October, 1553. 
% Lucas Cranach may be regarded as pre-eminently 
the painter of the German Reformation. Although 
not approaching Diirer and Holbein in intellectual 
power and esthetic perfection, he was moved even 
more deeply than they by the religious influences of 
the times. The influences of the Renaissance were 
also at work in his art, as seen by the numerous 
classical subjects he has depicted so naively; and 
moreover, there may be traced in it a sort of homely 
humour, which no doubt caused Kugler to compare 
him to Hans Sachs. He was the intimate friend 
of Luther, whom he has several times represented 
in his pictures, and embracing his doctrine warmly, 
he endeavoured to set it forth in his art. 
His reputed paintings are somewhat unequal in 
merit, but this is chiefly because many of those 
ascribed to him are merely atelier-works, done under 
his direction by his sons and pupils. Among the 
most important of his paintings may be mentioned : 


PAINTERS AND ENGRAVERS. 


Augsburg. Rathhaus. Samson and Delilah. 


Berlin. Gallery. | Venus and Cupid stung by a Bee. 

Carlsruhe. The Judgment of Paris. 

Florence. Uffizi. Adam and Eve. 

Gotha. Gallery. The Fall and Redemption of Man. 

Leipsic. The Repose in Egypt. 1504. 
(Formerly in the Sciarra Palace, 
Rome.) 

9 Museum. <A Dying Man. 
Munich. Gallery. Woman taken in Adultery. 


Petersbrg. Hermitage. Madonna under the Apple-tree. 
Schneeberg. Stadtkirche. The Crucifixion, Last Supper, 
&e. (an altar-piece). 
Weimar. Stadtkirche. Crucifixion, with portraits of 
Luther, Melanchthon, and the 
- painter himself. 
Worlitz. Gothic House. St. George and the Dragon. 


Several of these subjects were treated frequently 
by Cranach, and replicas of them are to be found 
in many galleries. It is indeed very difficult to 
distinguish his works from those of the master 
now known as the ‘ Pseudo-Griinewald,’ and from 
those of his son Lucas Cranach the younger. 
Lucas Cranach the elder, as he is called to distin- 
guish him from his son, always painted in oils on 
wooden panels. His colouring is warm and rich, 
but his drawing is usually defective. He excelled 
in portraiture, and evidently delighted in it, for he 
often introduces portraits of his friends into his 
pictures, His female portraits have a sort of 
naive grace that renders them very pleasing. 
There is one by him in the National Gallery of a 
young girl in elaborate costume, which is entirely 
characteristic. 

He was fond also of drawing birds and animals, 
and often depicted hunting scenes. His art indeed 
may be defined as thoroughly national, homely 
and individual, marked by cheerful fancy and 
quaint invention, sometimes bordering on carica- 
ture. He had three sons, who are believed to 
have been painters, but only his second son, Lucas 
Cranach, the younger, acquired any reputation. 
Cranach usually signed both his paintings and 
engravings with the crest granted him by the 
Elector Frederick—a flying dragon with a crown 
upon its head. He is said to have painted so 
rapidly that on his tombstone he was described as 
‘celerrimus pictor.’ 

But it is as an engraver rather than as a painter 
that Cranach is best known. Heller describes 
more than 800 prints by him. These are mostly 
wood-cuts, but he executed also a few copper-plates. 
These are now rare, though some of his wood- 
engravings are often met with. Drawings also 
by him are to be found in most public collections. 


PRINCIPAL COPPER ENGRAVINGS. 
The Penitence of St. John Chrysostom. 1509. 
Three portraits of Luther, dated 1519, 1520, and 1521. 
Portraits of the Elector Frederick III., with an angel 
holding a crown of laurel. 
Portraits of other Electors. 


PRINCIPAL WOOD ENGRAVINGS. 


Passion of Christ. A series of 15 cuts. 
The Martyrdom of the Apostles. 1549. Ch De 
Christ and the Apostles, 14 ,, 


The Wittenberg Hagiology. 1509. TE 5 
Passional Christi et Antichristi. 1521. a 9s 
Hortulus Animae. oO) as 
Adam and Eve in Paradise surrounded by animals. 


Bik 
ro ae in Egypt, with dancing angels. 
Christ and the Samaritan Woman. (B. 22.) 
Temptation of St. Anthony. (B. 56.) 
St. Christopher. (B. 58.) 
St. Jerome in the Desert. (B. 63.) 


(B. 4.) 


349 


7 


Beheading of John the Baptist. (B, 62.) 

Venus and Cupid. (B. 113.) 

Judgment of Paris. (B. 114.) 

Marcus Ourtius. (B. 112.) 

Bibliography :—AHeller: ‘Lucas Cranach’s Leben 
und Werke,’ 2nd ed., 1854. Schuchardt: ‘ Lucas 
Cranach des Aeltern Leben und Werke,’ 3 vols. 
1851—1871. Hisemann: ‘Kunst und Kistler,’ 
vol. i. Warnecke: ‘Lucas Cranach der Aeltere,’ 
1879. Bartsch: ‘Le Peintre-Graveur,’ vii. 273; 
Passavant : ‘Le Peintre-Graveur,’ iv.1. yy 9 


CRANACH, Lucas, the younger, was the second 
son of Lucas Cranach the elder. He was born 
in 1515, and received his education in art in his 
father’s workshops. He is weaker in drawing 
than his father, and softer in colouring, but it is 
difficult to distinguish ‘their works, for he signed 
with the same mark, the flying dragon, though, 
according to Schuchardt, the dragon of the son may 
be known by its wings being folded. All pictures 
after the date 1553, (that of his father’s death,) 
may be safely ascribed to him, and many such 
exist. J, A. Crowe, in the last edition of Kugler’s 
‘Handbook,’ mentions several in the principal 
church at Wittenberg. One of these he describes 
as a singular work bearing “distinct reference to 
the state of the Church in his time.” It represents 
the vineyard of the Lord, ‘one half of which is 
being destroyed by the clergy of the Romish 
Church, whilst the heroes of the Reformation are 
employed in cultivating the other,” and is dated 
1569. By this it is clear that he must have had the 
same warm Protestant sympathies as his father, 
Other paintings by him are: 

Berlin. Gallery. The Fountain of Youth. 1546. 
Brunswick. Gallery. See of John the Baptist. 


‘Dresden. Gallery. Crucifixion. 
ae : Portraits of the Electors Maurice 
. and Augustus. 
Leipsic. Museum, Crucifixion. 1557. 
Munich. Gallery. Virgin and Child with Grapes. 
Nordhausen. Raising of Lazarus. 
Wittenberg. Stadtkirche. Nativity. 


sy Crucifixion. 


He, like his father, appears to have been a man 
of importance in Wittenberg, for he also filled 
the office of Burgomaster. He died at Wittenberg 
in 1586. No engravings by him are known, but 
it is believed that he furnished the designs for the 
woodcuts in Luther’s translation of the Bible, 
printed at Leipsic in 1542, as well as for some por- 
traits, among which is a series of the Princes of 
BeaCny: (See Passavant’s ‘ Peintre-Graveur,’ iv. 


. M. M. H. 

CRANCH, Joun, who was born at Rinpeoidiens 
Devon, in 1751, practised historical and portrait 
painting as an amateur, with no great success, in 
London and Bath, where he died in 1821. His 
best work was the ‘Death of Chatterton,’ He 
excelled in so-called ‘poker pictures.’ The South 
Kensington Museum possesses a work by him, 
entitled ‘Playing with Baby’ (1795). 

CRANE, Tuomas, was born at Chester in 1808. 
Showing early a taste for art, in 1824 he came up 
to London, where he joined the schools of the 
Academy, and remained two years, obtaining, in 
1825, the medal for his drawings from the antique. 
Returning to Chester, he commenced his profession 
a8 a miniature painter, and not very long after, he 
published, in conjunction with a brother, some 
ee of celebrated characters in North Wales, 


A BIOGRAPHICAL DICTIONARY OF 


among whom were Lady Eleanor Butler and Miss 
Ponsonby, the eccentric ‘‘ Ladies of Llangollen.” 
In 1832 he made his first appearance as an exhibitor __ 
at the Liverpool Academy, and continued to con- 


“J 5 |= 7 oa”. ee 
4 y / » ad ey 
i een 2 a 8 a 
ho ~ 


* ~. Pt 


tribute to that Institution for many years. In 


1835 he was elected an Associate, and in 1838 a — 


full member of that Academy. But the delicate 
state of his health would not permit of his re- 


maining in that town, and he removed to Torquay, 4 
where he resided twelve years, occasionally visit- — 


ing the scene of his earlier connections in the 
North, where he procured lucrative commissions, 
He died in London in 1859. Crane was most success- 
ful in portraits of females and children, both in oil 
and water-colours ; his treatment of such subjects 
being so elegant and so full of fancy as almost to 
make them ideal works, yet without compromising 
their likeness. He also painted figure subjects, 
as: ‘The First Whisper of Love,’ ‘The Deserted 
Village,’ ‘'The Cobbler,’ ‘The Old Romance,’ ‘ The 
Bay Window,’ and ‘ Masquerading,’ most of which 
were exhibited at the Royal Academy. 

CRANENBURGH, HeEwnprix vay, a Dutch land- 


scape painter, was born at Amsterdam in 1754, © 
He was a pupil of Barbiers, but at the age of thirty 


he abandoned painting for the counting-house. 
He, however, continued to make many excellent 
copies of the works of the old masters, and died at 
Amsterdam in 1832. ' 

CRANSSEH, Jan, a Flemish painter, was born at 
Antwerp in 1480. He painted historical subjects, 
and was received into the Guild of St. Luke at 
Antwerp in 1523, and- became dean thereof in 
1535. Van Mander speaks highly of a’ picture by 
this master which was formerly in the cathedral of 
Antwerp, representing ‘ Christ washing the Feet of 
His Disciples. Two panels of coats of arms, one 
of the Chamber of Rhetoric of Diest, and the other 


of that of Turnhout, by him, are in the Antwerp 


Gallery. ° 

CRAPELET, Louis AmMasBLE, a French water- 
colour painter, born at Auxerre in 1822, studied 
under Corot, Durand-Brager, and Séchan. He went 
to Egypt in 1852, and ascended the Nile as far as 
the third cataract, returning to France in 1854. 
Many of his drawings were the result of this expe- 
dition. He died at Marseilles in 1867. 


1664, and was a scholar of Bernardino Ciceri. He 
excelled in painting landseapes and views of the 
vicinity of Rome, from designs he had made during 
a long residence in that city; and these pictures, 
according to Orlandi, were greatly in vogue in his 
time. He died in 1718. 

CRAWFORD, Epmunp THoRNTON, a Scottish 
landscape painter, was born at Cowden, near 


Dalkeith, in 1806. His father was a land surveyor, — 


and Crawford was apprenticed when a boy to a 
house-painter in Edinburgh. Shortly afterwards, 
however, his indentures were cancelled, and he 
entered the Trustees’ Academy, then under Andrew 
Wilson. In1833 he paid the first of several visits 
to Holland. . In 1839 he was elected an associate, 
and in 1848 a full member of the Scottish Academy, 
He died at Lasswade on September 29, 1885. 
His art was closely akin to that of Thomson of 
Duddingston. Works: 


Edinburgh. S. Wat. Gall. Group of Trees. 
* Coast scene, North Berwick. 


. Close hauled, crossing the Bar. 


” ”? 


CRAWFORD, Wu1114y, a Scotch portrait and 


CRASTONA, GiosErro, was born at Pavia in 


= 


ene 
acer 


ae te nb 


To 
oe 
one. 


—_— 


EORENZO DI CREDI 


Brogi photo] [Ufizt Gallery, Florence 
THE MADONNA AND ST. JOHN 


eo eRe Se 
A 


Gs 

}/ 
\ 
it “ 


genre painter, was a native of Ayr. His father 
placed him at the Trustees’ Academy, under Sir 
William Allan, where he gained a travelling bursary, 
which enabled him to study in Rome for about two 
_ years. On his return he conducted the drawing 
_ classes of the Trustees’ Academy for several years, 
__and also occasionally contributed art criticisms to 
_ Edinburgh newspapers. His crayon portraits, of 
_ which a good many were exhibited at the Royal 
_ Academy in London, were much sought after. He 
_ was elected an Associate of the Royal Scottish 
_ Academy in 1862. Among his genre paintings we 
_ may mention his ‘Highland Keeper’s Daughter’ 
(1865), ‘ Waiting for the Ferry,’ ‘ Return from May- 

_ ing,’ and ‘Too Late,’ a striking picture exhibited 

at the Royal Scottish Academy in 1869, in which 
_ year he died. 

_  CRAYER, Gaspar pE. See Dre Craver. 

__ CREDI, Lorenzo pi, whose surname appears to 
have been Barpvocct, and not Sciarpelloni, as stated 
__ by Vasari, was born at Florence in 1459. He wasa 
_ disciple of Andrea del Verrocchio at the time that 
_ Perugino and Leonardo da Vinci were studying 
__ under that master. Lorenzo displayed a preference 
__ for the style of Leonardo over that of his instructor, 

- and copied the paintings of the former with great 
_ success; whilst the graceful and expressive manner 


remind one somewhat of the style of Perugino. He 
_ died at Florence in 1537. He also practised the 
art of sculpture, and Verrocchio in his will ex- 
pressed a desire that the completion of his famous 
equestrian statue of Bartolommeo Colleoni should 
be intrusted to Lorenzo. It was, however, given 
_ by the Venetians to Alessandro Leopardo to finish. 
Giovanni Antonio Sogliani and Tommasodi Stefano 
were his pupils. The following paintings by him 
_ may be noted: 


Berlin. Gallery. Madonna and Child. 
2 St. Mary of Egypt. 
Carlsruhe. _,, Madonna and St. John. 
Dresden. Gallery. Madonna and Child, with SS. 
: Sebastian and John _ the 
: Evangelist. 
Florence. Academy, The Nativity. 
i. = Uffizt. Portrait of a man. 
rt ae ie anne appearing to the Magda- 
ee, i Portrait of Andrea del Verroc- 
chio. 
- = The Annunciation. 
London. Wat. Gall. The Virgin and Child. 
- * The Virgin adoring the Infant 
Christ. 
Naples. Museum. The Nativity. 
Oxford Madonna. 
Palermo Madonna dell’ Olivella. 
Paris. Louvre. Virgin and Child. 
a Christ and the Magdalen. 
Pistoja Madonna and Saints. 


29 
7 Borghese Gall. Virgin and Child, with St. John 
the Baptist. 
Turin. Museum. Virgin and Child. 

CREED, Carty, was an English engraver, who 

published, in 1731, a set of plates of the statues and 
_ busts at Wilton House, which possess considerable 
merit. 

CREED, EximasetH, a daughter of Sir Gilbert 
Pickering, Bart., and cousin to the poet Dryden, 
was born in 1642. She married a gentleman 
named Creed, of Oundle, in Northamptonshire, and, 
as an amateur, painted altar-pieces for several 
churches in the neighbourhood, and also portraits 


of her friends. She died in 1728. 


‘many years its President. 


in which he painted Madonnas and Holy Families | 


PAINTERS AND ENGRAVERS. 


CREGAN, Martin, a portrait painter, practised 
both in Dublin and London. He was born in 
1788, and was a member of the Royal Hibernian 
Academy from its foundation in 1823, and for 
From 1812 to 1821, 
whilst he resided in London, he exhibited yearly 
at the Royal Academy. His last contribution was 
a portrait of Miss Dance as ‘Mrs. Haller.’ ‘He 
returned to Dublin in 1822, and was patronized by 
the élite of that city. He died in 1870. The 
Dublin National Gallery has a copy by him of Sir 
Joshua Reynolds’s portrait of Master Crewe. 

CREMONA, ANToNIo DA, an Italian engraver 

on wood, who flourished about the year 1560. 
Among other prints, he engraved a cut representing 
‘Mutius Sceevola burning his hand in the presence 
of Porsena.’ It is executed on a single block, 
without any cross-hatching. He is supposed to 
be identical with Antonio Campi. 
* CREMONA, NiccoLd DA, was a native of Cre- 
mona, who flourished about the year 1518. Accord- 
ing to Masini (‘ Bologna perlustrata’) he was a 
good painter of history. For Santa Maria Mad- 
dalena, at Bologna, he painted a picture of the 
‘Descent from the Cross;’ dated in 1518. In the 
Bologna Gallery is the ‘Marriage of the Virgin’ 
from the church of San Giuseppe. 

CREMONESE, It. See CaLerri. 

CREMONESE pei PAESI, It. See Bassi, Fran- 
CEScO MARIA. 

CREMONINI, Giovanni BATTIstTA, was born at 
Cento in 1550. At Bologna he executed several 
frescoes and friezes in chiaroscuro for palaces and 
houses, and painted several pictures for the 
churches of San Girolamo, San Domenico, and 
Madonna del Monte. He excelled, however, more 
especially as a painter of decorations for theatres, 
festivities, and tournaments; many of his pro- 
ductions of that class are in the possession of the 
Duke of Mirandola. Hehad great talent, but was 
most superficial in the execution of his works. 
He died at Bologna in 1610. 

CREPIN, Louis Puinipps, a French marine 
painter, born in Paris in 1772, was a scholar of 
Regnault and Hubert Robert ; he also had lessons 
from Joseph Vernet, and followed very success- 
fully the styles of those masters. He was:fond of 
representing engagements between French and 
English vessels of war, particularly where the 
former fought under great disadvantage. He 
painted many other subjects of more general 
interest, which will be esteemed when the battles 
are forgotten. He painted in water and body 
colour, and etched and aquatinted in the English 
manner. Crépin died in Paris in 1851. 

CREPU, Jan Baptist, (often called in error 
Nicolaas,) was born at Brussels in 1680. He was 
an officer in the Spanish service, which he quitted 
at about the age of forty, and devoted himself to 
flower-painting, in which he showed considerable 
talent. He composed well, and painted with a 
light and free pencil: his works were highly 
esteemed by his contemporaries.. He died at Ant- 


‘werp in 1742. 


CREPY, Jzan and Louis, (or Crespy,) were two 
indifferent French engravers and printsellers. Jean, 
the father, was born in Paris about 1650, and 
engraved some portraits, among which is a series 
of very small ovals of the princes of the royal 
family of France, remarkable for their extremely 
minute execution. Louis, the son, was born in 
Paris about 1680. Many prints, Nh a ah Os 


A BIOGRA 


traits 
engraved, but simply published by them. We 
have, however, the following plates by them : 

Mary Magdalene ; Crépy, inv. et fecit. : 
The N ativity ; after Albani ; their best print. 

The Descent from the Cross; after Carlo Cignant. 


The Holy Family; after Lebrun. 
The Presentation in the Temple; after the same. 


CRESCENZI, Barrotommeo. See CAVARAZZI. 

CRESCENZI, Giovanni Barrista, Marquis DE 
LA ToRRE, an Italian painter and architect, was born 
at Rome in 1595. He was a pupil of Pomerancio, 
and was brought to Spain by Cardinal Zapata 
shortly before 1617, in which year he was invited 
amongst others to send in his plans for the building 
of the Panteon in the Escorial. A well-executed 
flower-piece by him is said to have attracted the 
attention of Philip III. His plans approved, in 
1619 he was sent to Italy, with an allowance of 
2000 ducats, and letters were forwarded to the 
Spanish ambassadors at foreign courts to collect 
models and artisans in their respective countries. 
Returning in 1620 with eight Italian and Flemish 
assistants, he began the building of the Panteon, 
which occupied him 33 years, being interrupted in 
1621 by the death of Philip III. By Philip IV. 
Crescenzi was loaded with favours, created Marquis 
de la Torre, and appointed head of the Board of 
Woods and Works, with a monthly pension of 140 
ducats. He died at Madrid in 1660. 

CRESCENZIO, ANTONELLO, known as ANTO- 
NELLO DA PALERMO, who, according to De Marzo, 
was the son of Antonio Crescenzio, was born 
early in the 16th century, and practised both as 
a sculptor and a painter. He was an assistant 
to the sculptor Gagnino in 1527. In 1537 he com- 
pleted two copies of Raphael’s ‘Spasimo ;’ one of 
them is in the Carmelite Church at Palermo, and 
the other inthe Monastery of Fazello, near Sciacca. 
The date of his death is uncertain. 
Palermo. La Ganzia. Madonna and Child, dated 1528. 


CRESCENZIO, Anronto, a native of Parma, the 
dates of whose birth and death are not known, 
flourished from about 1417 to 1440. He painted a 
fresco in the hospital of Palermo, representing 
‘Death on the Pale Horse smiting and threatening 
the rich ones of this world, whilst the poor and 
wretched in vain beg for their release.’ The chapel 
of the Vanni family, close to the church of Santa 
Maria e Gest, near Palermo, contains the remains 
of wall-paintings in monochrome representing 
different saints assigned to this artist. In the 
University Gallery of the same city there is a 
painting by him of the ‘Enthroned Madonna and 
Saints,’ and two panels. 

CRESPI, Antonio, the son and pupil of Giuseppe 
Maria Crespi, painted much for the churches of 
Bologna. He died in 1781. A picture of St. 
Francis of Paola by him is in the Bologna Gallery. 

CRESPI, BENEDETTO, called Busrino, a native of 
Busto Arsizio, near Milan, worked in Como about 
the middle of the 17th century. In the Pinacoteca 
at Milan is a ‘Circumcision of Christ’ by him; 
and the-Madrid Gallery has a ‘Roman Charity.’ 
He had a son, ANTONIO MariA, who was his pupil. 

CRESPI, DANIELE, was born at Busto Arsizio, 
near Milan, in 1590, and was first a scholar of Gio- 
vanni Battista Crespi, called Cerano, but afterwards 
studied under Giulio Cesare Procaccini. Although 
he did not survive his fortieth year, he undoubt- 
edly surpassed his first instructor; and, according 

352 


HICAL D 


which bear the name of Crépy, were not. 


uP 


to Lanzi, in the opinion of many, he ° 

the second. He was an able artist of t 
ese school, though little known except in» 4 
country. * To an acute and penetrating genius, and 
an uncommon readiness of hand, he added a judg- — 
ment that enabled him to take advantage of the 
excellences of those who had preceded him,and to _ 
avoid theirdefects, Although heneverfrequented — 
the school of the Carracci, he appears to have 
approved and adopted their principles and their — 
practice. In the expression of his heads he is — 
varied, yet select; and is particularly admired for 
the fervid devotion expressed in the character of 
his saints. His colouring is excellent, both in oil — 
and in fresco, and partakes of the strength, as well — 
as of the amenity, that we admire in Titian, The 
most esteemed works of this artist are the ‘Taking 
down from the Cross,’ and several portraits in 
fresco, in the Chiesa della Passione at Milan; and 
his celebrated series of pictures of the Life of St. 
Bruno, at the Certosa, Nine paintings by him are _ 
in the Brera, and others are to be met within the _ 
palaces and churches of Milan and the neighbour- 
ing towns, as well as in the following galleries: 


if * ' 


Florence. Uffizz. An Old Beggar. 
53 ms His own Portrait. 
Madrid. Gallery. Pieta. . 
Vienna. Gallery, The Angel appearing to Joseph in 
a Dream. P oan 


His works have been engraved by Weggers, Fer- _ 
roni, Longhi, and Felsing. This able painter was — 
unfortunately carried off, in the prime of life, with _ 
all his family, by the plague which visited Milan — 
in 1630. i 

CRESPI, Giovanni Barrista, was born at Ce- 
rano, a small town near Novara, in the Milanese, — 
in 1557, and is frequently called In Cerano. He — 
was descended from a family distinguished in the — 
art, who educated him for the learned professions ; _ 
and he was.a student of great promise in litera- — 
ture and science. A strong’ attachment to paint- — 
ing, however, induced him to follow the art in © 
which his family had acquired its celebrity. He — 
attended the school of Procaccini, visited Rome 
and Venice, and established himself at Milan, where _ 
he was patronized by the duke and by Cardinal 
Federigo, made director of the Academy, and 
employed as an architect, sculptor, and painter. 
In his works as a painter are found many beauties, __ 
accompanied by unaccountable defects. His style 
is free and spirited, and his colouring harmonious; _ 
but his design is occasionally conceited and absurd, —_ 
from an affectation of the grand and the graceful. 
Of these -deficiencies we have evidence in his 
pictures in the Chiesa della Pace, where his drawing __ 
of the nude is heavy and tasteless, and the move- — 
ment of his figures distorted by the violence of —__ 
their attitudes. His merits, however, must be 
allowed to outweigh his defects, and some of his 
works may be compared with the best productions 
of the Milanese school at his time. Such is his — 
picture of the ‘Baptism of St, Augustine, in San 
Marco, which disputes the palm with Giulio Cesare oe | 
Procaccini, and in the judgment of someissuperior. _ 
Soprani, in the ‘Life of Sinibaldo Scorza,’ saysthat  —_— 
this artist excelled in painting animals and birds, __ 
of a cabinet size. He died at Milan in 1633. 


Other paintings by him are as follow: a 
Berlin. Gallery. An Assembly of Franciscans. == 
Milan. Jrera. Madonna del Rosario. & 
Vienna. Gallery. Christ appearing to the Apostles 


SS. Peter and Paul. ‘<a 


4 


+. ae 


THOMAS CRESWICK 


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RESPI, Giusupre Maria, called Lo Spaanuozo, 
3 ame given to him by his fellow-students on 

_ account of the finery of his dress, was a painter 
_ and etcher, born at Bologna in 1665. He studied 
_ first under A, M. Toni, and then entered the school 
of D. M, Canuti, but afterwards passed some time 
under ©, Cignani, and still later under G. A. Bur- 
ini. He visited Venice, Parma, and Modena, 


__ where he painted after the style of Barocci, Guer- 


cino, and Pietroda Cortona. Desirous of discover- 
ing and establishing a new mode of working, he 
adopted a flimsy method of colouring, without 
solidity, and consisting chiefly of glazing, which 


has oceasioned many of his works to become almost 


_ obliterated. He had a particular talent for cari- 


_cature; and some of his compositions of that kind 


are full of humour and eccentricity. He was for 


some time in the employment of the Grand-Duke 


Ferdinand, for whom he executed several works in 
the Pitti Palace. He died blind at Bologna in 
1747, There are many of his pictures in the 
churches and palaces of Bologna, besides those 
in the under-mentioned galleries : 


Bologna. 8. Wiccold. St. Anthony the Abbot. 
= Pinacoteca. Madonna with Saints and Angels, 
- Dresden Gallery. ane Abd a and Child, and St. 
ohn. 
‘ - Also eleven others, 
Ferrara. Gest. Swooning of St. Stanislaus. 
Florence. ttt Pal. Holy Family. 
* 9 Portrait of an Old Man. 
B, Uffizt. His own Portrait. 
Munich. Gallery. A weeping Nun. 
Paris. Louvre. A Schoolmistress. 


Petersburg. Hermitage. Holy Family. 

Death of St. Joseph. 

Portrait of Himself. 

The Centaur Chiron teaching 
Achilles to shoot. 

Aineas and the Cumzan Sibyl on 

Charon’s Boat. 

Giuseppe Maria Crespi has etched several plates, 
some of which bear the name of L. Mattioli, a 
friend of his, whom he assisted in his distress. 
The following are among the number: 

The Massacre of the Innocents. 

Two plates of the Resurrection ; in the style of Rembrandt. 
The Miraculous Crucifix of Pistoja. 

St. Anthony ; in the manner of Rembrandt. 

St. Pascal. | 

Five plates of the Trades; in the style of §. Rosa. 

_ A Shepherd and Shepherdess. 

_ The Circumcision ; after L. Carracci. 

The Nurse; after Van Dyck. 


Besides ANTONIO, he had two sons who were also 
artists: Luia1, who held certain offices in the papal 
court, wrote ‘ Vite dei Pittori Bolognesi,’ 1769, and 
died in 1779; and FerDINANDo, a Franciscan monk, 
who painted miniatures, and died in 1754. 

CRESPY, J#an and Louis. See Crepy. 

CRESTI, Domenico, called IL PassiGNANo, was 
torn at Passignano, near Florence, in 1558. He 
was first a scholar of Macchietti and of Battista 
Naldini, but afterwards studied under Federigo 
Zuccaro, to whose style his own is more conform- 
able. He resided some time at Venice, where 
he received instruction from Paolo Veronese, and 
became so fascinated with the works of the great 
masters of the Venetian school, that, according 
to Boschini, he used to observe, that whoever 
had not seen Venice could not hope to become 
a painter. Though neither select in his forms 
nor correct in his design, he is ingenious and 
abundant in his compositions; and in the splen- 
dour of his costumes and the richness of his 

AA 


” ” 
Vienna, — Gallery. 


” ” 


: PAINTERS AND ENGRAVERS. 


architecture he resembles Paolo Veronese more 
than does any other of the Florentine painters. 
He sometimes reminds us of Tintoretto, in the 
strained attitudes of his figures, and, like that 
master, he painted many of his pictures with 
colours so thin and oily, that several of his works 
have perished. Such has been the fate of his 
pictures of the ‘Crucifixion of St. Peter,’ and the 
‘Presentation in the Temple,’ painted for the 
Basilica of St. Peter, in the pontificates of Paul V. 
and Urban VIII. There are, however, some of 
his pictures remaining, which are painted with an 
excellent impasto of colour. Of these may be 
mentioned a ‘Dead Christ,’ in the Cappella di 
Mondragone, at Frascati; a ‘Descent from the 
Cross,’ in the Palazzo Borghese, at Rome; and 
‘Christ bearing the Cross,’ in the Uffizi, at Florence. 
His extraordinary facility and rapidity of execution 
won for him the nickname ‘ Passa ognuno,’ a play 
upon his surname of ‘Passignano.’ He died in 
1638. The following are also among his paintings : 


Florence. Maggiore f The Descent of the Holy Ghost. 
ss Academy. The Assumption. 
a Uffizi. His own Portrait. 
pe os Christ bearing the Cross. 
Paris. Poy A Miracle of the true Cross. 
. Andrea : 
Rome. { ila Palle } The Assumption. 
Vienna. Gallery. Feast of Ahasuerus. 


CRESWICK, THomas, a landscape painter, was 
born at Sheffield in 1811. He was sent when very 
young to Birmingham, where he became a pupil 
of J. V. Barber. _He went to London in 1828, 
and immediately commenced to exhibit at the 
British Institution, and at the Royal Academy, 
to both of which he was henceforward a constant 
contributor. His early works, which were chiefly 
Welsh scenes, had a great success, and in 1840 he 
began to exhibit views in the North of England. 
In 1842 he was awarded a premium of fifty guineas 
by the directors of the British Institution for his 
general excellence, and in the same year he was 
elected an Associate of the Royal Academy: nine 
years later he became an Academician. The quiet 
beauties of inland scenery, and more especially 
scenes with rippling streams, quiet riverside nooks, 
and glens and dells, were his favourite subjects, 
although occasionally he painted coast scenes. 
His power in the delineation of aérial perspective 
and his knowledge of the effects of colour were 
almost equal to Turner. Some of Creswick’s later 
pictures were painted in conjunction with Goodall, 
Elmore, John Phillip, Frith, and Ansdell, who 
introduced the figures and cattle. He was an 
active member of the Etching Club, and furnished 
many charming etchings for its publications ; 
notably the editions of Gray’s ‘Elegy,’ Milton’s 
‘L’ Allegro,’ and Goldsmith’s ‘ Deserted Village.’ 
He also occasionally drew on wood blocks. He 
died in London in 1869, and was buried at Kensal 
Green Cemetery. 

The following are some of his principal works: 


1839. The Pathway to the Village Church (in the 
National Gallery). 

1842. Afternoon. 

1843. Welsh Glen. 

1844. A Sceneon the Tummel, Perthshire (tn the South 
Kensington Museum). 

1844. A Summer’s Afternoon (in the South Kensington 
Museum). 

1845. A Recollection of the Alps. 

1845. Rain on the Hills. 

1846. The pleasant way home. 


353 


1847, England. : 
1847, ‘The London Road a hundred years ago. 
1849. Passing Showers. 
1850. The Wind on shore. 
1850. First glimpse of the Sea. 
1850. Old Trees. 
1850. South Downs ee sheep are by Ansdelt). 
1851. The Valley Mill. 
1851. Over the Sands. , 
1852. A Mountain Lake—Moonrise. 
1854. The Blithe Brook. 
1859. The Village Bridge. 
1861. In the North Countrie. 
1864. Across the Beck. 
1865. Changeable Weather. igh ; 
A Dream of the Future (the girl is by Frith, and 
the dog by Ansdell). 


Upwards of a hundred of Creswick’s works were 
exhibited at the International Exhibition in London 
in 1873. 

CRETI, Donato, was born at Cremona in 1671, 
and was educated at Bologna, under Lorenzo 
Pasinelli, whose style he blended with an imitation 
of the works of Simone Cantarini, and so formed 
a manner which has little claim to originality. His 
colouring is distinguished by a hardness and 
crudity, occasioned by his never properly blending 
his tints. He resided chiefly in Bologna, where he 
painted several pictures for the churches—for San 
Pietro an altar-piece of ‘St. Charles Borromeo ask- 
ing Charity for the Poor;’ for San Domenico, ‘St. 
Vincent of Ferrara resuscitating a Child ;’ for San 
Luca, the ‘Coronation of the Virgin,’ one of his 
best works; and for the Mendicanti, the ‘ Ador- 
ation of the Magi.’ In the Palazzo Pubblico, he 
painted four pictures of the ‘Life of Achilles’ 
and other works. He was also employed in the 
churches at Rimini, Bergamo, Lucca, and Palermo, 
The Bologna Gallery possesses a ‘Coronation of 
Charles V. at Bologna’ by him. MHe died at 
Bologna in 1749. 

CREUSE, AvcusTE DE, a French portrait painter, 
who was born at Montrond (Doubs) in 1806, and 
died in Paris in 1839. He was a pupil of Gros, 
and painted many of the historical portraits which 
are at Versailles. 

CREUTZFELDER, JoHann, a portrait painter, 
was born at Nuremberg in 1570. He was a scholar 
of N. Juvenel, and painted also historical subjects. 
His paintings representing Martyrdoms are beauti- 
fully executed. He died at Nuremberg in 1636. 
There are by him: 

Nuremberg. S. Sebaldus. Adam and Eve. 1603. 
Vienna. Gallery. The Martyrdom of St. Ignatius. 


He signed his portraits with this monogram Ay 


CREVOISIER, Mariz Jeanne. See CLEMENS. 

CRISCUOLO, Giovanni ANGELO, was the younger 
brother of Giovanni Filippo Criscuolo. Although 
he showed an early inclination for art, his father 
would not permit him to make it his profession, 
but obliged him to follow the business of a notary. 
On the death of his father, the reputation his 
brother had acquired induced him to abandon his 
occupation, and place himself under the tuition 
of Marco di Pino da Siena, by whose instruction he 
became a reputable artist. Dominici describes 
many of his works in the churches at Naples, 
among which is an altar-piece in the church’ of 
San Stefano, representing the ‘Martyrdom of St. 
Stephen’; in Monte Calvario, a picture of the 
‘Virgin and Infant, with St. Jerome,’ dated 1572; 
in San Severino, an ‘Annunciation ;’ and in San 
Giacomo degli Spagnuoli, an ‘Assumption of the 

354 


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A BIOGRAPHICAL DICTIONARY OF — 


Virgin.” He wrote a ‘History of the Neapolitan 
Artists to 1569.’ The exact date of his death is 
not known ; some say about 1580. Ba ae 
CRISCUOLO, Giovanni Fitippo, was born at 
Gaéta in 1495. He was instructed in painting by __ 
A. Sabbatini, but afterwards devoted his attention _ 
‘rather to the works of Perino del Vaga. Hedied 
at Naples in 1584, His best works are as under: — 
Naples. S. Patrizia, The Adoration of the Magi. — — 
SM, wate hare Death, Ascension, and Coro- 
Regina. nation of the Virgin, a 
CRISCUOLO, MariaAnGioLa, who married Gio- __ 
vanni d’Amato the younger, is apparently known 
only by some finely-executed ‘Madonnas’ in two 
of the churches of Naples. Ley 
CRISPI, Scrrpionzr, was a Piedmontese painter, © 
born at Tortona, who flourished, according to 
Lanzi, from the year 1592 till 1599. It is uncer- 
tain by whom he was instructed; but he was an 
artist of considerable merit, as is evident from his __ 
picture of the ‘ Visitation of the Virgin to St. Eliza- 
beth,’ in the church of San Lorenzo, at Voghera, _ 
and an altar-piece at Tortona of ‘SS, Francis and 
Dominic,’ which is dated 1592, ; 
CRISPINUS. See VANDEN BROECK. 
CRISTALL, JosHua, was born in 1767 at Cam- 
bourne in Cornwall. His father was Scotch, and 
was bitterly opposed to his son’s artistic tastes, but 
his mother secretly aided him in his struggles to 
study art. He was first apprenticed to a china 
dealer at Rotherhithe, but, finding that business too 
irksome, he left both his master and his home, and 
went to the Potteries, where he found some em- 
ployment as a china painter. Finding this too 
monotonous, he came to London, and commenced 
a life of great privations and hard efforts to study 
the fine arts. It is said that at this period of his — 
life he seriously injured his health by trying to live — 
for a year on nothing else but potatoes and water. 
Aided in secret by his mother, who shared in and 
had herself directed his taste for classic art, he 
persevered in his endeavours, and finally gained 
admission to the school of the Royal Academy, 
where he made rapid progress. He became per- 
sonally known to Dr. Monro, and visited at his 
house, where he met the rising water-colour artists  _ 
of that day. At the foundation of the Society 
of Painters in Water-Colours in 1805, he first pub-. 
licly exhibited his works, and continued to do su ™s 
for many years. Hewas one of the foundation ~ 
members of this society, and afterwards became its 
President, and was always its warm and active 
supporter. In 1822, finding his health much im- 
paired, Cristall went to Goodrich on the Wye, 
where he had already bought a house, and where 
he spent many happy years until the loss of 
his wife, who died in 1840, drove him again to __ 
London, where he died in 1847, His body was 
carried to Goodrich, and buried by the side of his —_ 
wife, at his own earnest request. Cristall’s usual 
subjects in his early years were classical figures with 
landscapes, such as his ‘Lycidas,’ ‘Judgment of 
Paris,’ ‘Hylas and the Nymphs,’ and ‘ Diana and 
Endymion,’ but he afterwards produced genre sub- 
jects and rustic groups. About 1813 he tried portrait 
painting, generally small full-lengths with landscape 
backgrounds, in which he used no body-colour. As 
a water-colour painter Cristall will always hold an 
honourable position from the freedom and sim- 
plicity of his style and manner of execution. Five 
of his drawings, viz. ‘The Young Fisher-Boy,’ ‘The 
Fish Market on Hastings Beach,’ and three others, _ 


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are in the South Kensington Museum. Cristall was 
_ one of the early members of the Sketching Society ; 
he also furnished some of the classical figures in 
_ Barret’s landscapes, as well as some of the groups 
in Robson’s ‘Scotch Scenery.’ 
_ _ CRISTIANI, Giovanni pr BarroLommEo, who 
lived at Pistoja in the 14th century, is thought 
by Ciampito have been employed at the Campo 
_ Santo of Pisa in 1382. He is known to have 
painted a ‘ Virgin and Child between SS, Nicholas 
and John the Baptist’ in the Oratorio dei Nerli at 
Montemurlo. His last work, which is now lost, 
was the decoration of a church in Pistoja, which 
was begun in 1396 and finished in 1398. Very 
little remains of this artist’s productions, and no 
exact date is known of his death. In the Sacristy 
of San Giovanni Evangelista at Pistoja there is a 
painting by him of ‘St. John the Baptist enthroned 
with Angels’ (1370). 
 CRISTOFANO, a painter of Bologna, aided 
Jacopo and Simone in the production of a series 
of frescoes, completed in 1404, in the church of 
the Madonna della Mezzaratta in that city. 
CRISTOFORO, Bazsio, and Pierro Paoto, two 
artists, father and son, who were the founders of the 
~ mosaic school in the Vatican during the pontificate 
~  —s of Clement XI. (1700—1721), are deserving of 
notice for the perfection to which they carried that 
art. They executed in the Basilica of St. Peter, 
from the originals, the ‘Communion of St. Je- 
rome,’ after Domenichino; ‘St. Petronilla,’ after 
Guercino; the ‘Baptism of Christ,’ after Carlo 
Maratti; and other works. Pietro Paolo Cristoforo 
died in 1740. 
CRISTOFORO pa BOLOGNA. See Bouoena. 
CRISTOFORO pa PARMA. See CaseELLI. 
~eORISTUS, Perer. Born at the beginning of the 
fifteenth century at Baerle, a village between 
Hoogstraaten and Tilborg in N. Brabant. It is 
not known where he learned his art. He settled 
in Bruges in 1444, became a burgher by purchase, 
and was admitted as master into the Guild of Saint 
Luke. In 1461 he and his wife became members 
of the confraternity of Our Lady of the Dry 
Tree. He died at Bruges in 1473. His earliest 
known painting is a portrait of Edward Grimston 
dated 1446, in the possession of Lord Verulam. 


The B. Virgin and Child enthroned, Saints Jerome and 
Francis. 1447. (Staedel Institute, Frankfort.) 

A scene from the legend of Saint Godeberta. 1449. 
(Baron A. Oppenheim, Cologne.) 

The Annunciation, Nativity and Last Judgment. 1452. 
(Museum, Berlin.) oye 4 
Our Lady of Grace, one of three copies of a painting 
in the cathedral of Cambrai, executed by Cristus. 

1454. (Hospital, Cambrai.) 


In 1463 Cristus designed and painted a large 
representation of the Tree of Jesse which for more 
than a century was carried in the annual procession 
of the Holy Blood. Cristus is generally said to 

have been a pupil of Hubert or John van Eyck, 
but of this there is no proof. A carpet, cloth of 
honour and purse which figure in his pictures are, 
it is true, identical with those in paintings by the 
Van Eycks, but this only shows that Cristus may 
have purchased these properties or coloured 

sketches of them after John van Eyck’s death. 
(See ‘ Le Beffroi,’ 1863, and Crowe and Cavalcaselle’s 
‘Early Flemish Painters,’ 1872.) Z 

CRIVELLARI, BarrotommeEo, was a Venetian 
engraver, born in 1725. He was a pupil of J oseph 
Wagner, for whom he executed several plates, 

ae AD 


PAINTERS AND ENGRAVERS. 


after Gherardini, Tiarini, and Tiepolo. We have 


by him the following : 


The Portrait of Christian, Electoral Prince of Saxony. 

The Portrait of the Archduchess of Austria. 

Three Portraits from the Life of St. Pietro Petronio. 

Four Plates of musical and gallant Assemblies; after 
Niccolo dell’ Abbate. 

The Canonization of St. Alexander Saul; after MM. 
Bartolont. 


CRIVELLI, Aneroto Maria, called CrIveL- 
LONE, was a native of Milan, who, aceording to 
Orlandi, painted animals and hunting-scenes with 
surprising truth and spirit, and was considered one 
of the ablest painters of those subjects whom his 
country had produced. He died in 1730. Two 
pictures of ruins by him, with figures by Alessan- 
drino, are in the Dresden Gallery; and the Brera, 
Milan, has a ‘ Portrait of a Huntsman’ by him. 

CRIVELLI, Caro, who was probably born at 
Venice between 1430 and 1440, is likely to have 
been the pupil of Antonio and Bartolommeo da 
Murano, Ridolfi says that he derived his instruction 
from Jacobello dei Fiori, but this statement cannot 
be correct, as Jacobello flourished too long before. 
There is a ‘ Virgin and Child,’ formerly in the con- 
vent of San Lorenzo, and now in the Museum of 
Verona, which is one of his earliest productions, and 
which much recalls the two above-named artists. 
For over twenty-two years he seems to have almost 
exclusively worked in those cities which lie in the 
Marches of Ancona, between Potenza and Tronto. 
In the sacristy of San Silvestro, Massa, is an altar- 
piece of his in tempera, now hanging in detached 
pieces, signed and dated 1468. The cathedral of 
Ascoli has a ‘ Virgin and Child between SS. Peter, 
John the Baptist, Emidius, and Paul,’ dated 1473. 
In 1476 he completed the great altar-piece, in tem- 
pera, for San Domenico, at Ascoli, now in the Na- 
tional Gallery, London. In 1490 he was knighted 
by Prince Ferdinand of Capua, and immediately 
afterwards in a picture which he painted for the 
Odoni Chapel, in San Francesco of Matelica, he 
signed himself Crivellus, Venetus Miles, and never 
afterwards omitted the title on his pictures. His 
latest painting is the ‘Coronation of the Virgin, 
with Saints,’ dated 1493, now in the Oggioni Col- 
lection at Milan. The exact date of his death is 
unknown. There are many paintings by this artist 


in English and Continental galleries. They are 
allin tempera. Amongst them are: 
Ancona, Podestd. Madonna. 
Ascoli. Cathedral, The Twelve Apostles. 1473. 

5 7" Pieta. 
Berlin. Gallery. Madonna and Saints. 1491. 
Brussels. Museum. Madonna. 


. is St. Francis of Assisi. 

Frankfort. Stddel Jnst. The Annunciation. 

London. Jat. Gall, The Dead Christ. 

The Beato Ferretti. 

Madonna and Child enthroned, 
with SS, Jerome and Sebastian, 

The Annunciation. 1486. 

Madonna and Child enthroned, 
surrounded by Saints (an altar- 
piece in three stages and thirteen 
compartments). 1476. 

Madonna and Child enthroned. 
1491. 

Madonna in ecstasy. 1492. 

SS. Catharine and Mary Mag- 
dalene. 

,, Lord Northbrook. A Pieta. 


”? ”? 
” ” 


Milan, Brera. Virgin and four Saints. 1482. 
a a Virgin and Child 
= . Various Saints. 
355 


Paris. Louvre. St. Bernardino of Siena. 1477. 
”? ” Pieta. — - 
Pesth. Esterhazy Gall. Madonna and Child. 
Rome. Vatican,  Pieta. ; 
» Lateran Mus. Virgin and Saints. 
Madonna. 


9 ” 


(See Crivelli, by G. M. Rushforth : Lond., 1900.) _ 
CRIVELLI, Jacopo, the son of Angiolo Maria 


Crivelli, painted birds and fish. He worked much > 


at the court of Parma, and died in 1760. 

CRIVELLI, Tappro, a miniature painter of 
Ferrara in the 15th century, was engaged from 
1455 to 1461, in company with Franco de’ Russi, 
in painting the pictures in the costly Bible of 
Duke Borso of Ferrara; he also illustrated a num- 
ber of other works. He died about 1484. 

CRIVELLI, Virrorio, was a relation, some say 
a brother, of Carlo Crivelli, and learned his art 
from him. He lived in the 15th century, and 
closely imitated his namesake. At Fermo, in the 
possession of Cavaliere Vinci, is an altar-piece 
signed and dated by him in 1481. In the church 
of Santa Maria del Pozzo, Monte San Martino, the 
altar-piece representing the ‘ Virgin enthroned, the 
Child giving the keys to St. Peter,’ is dated 1489 ; 
and at Alla Matrice in the same town, the altar- 
piece by him is dated 1490. The South Kensing- 
ton Museum possesses a ‘ Virgin and Child,’ with 
other subjects, painted by Vittorio Crivelli. A 
‘Birth of Christ,’ and various Saints, by him, are 
in the Brera, Milan. No dates are known as to his 
birth or death. 

CRIVELLONE. See Criveti1, ANGIOLO MARIA. 

CROCE, BALDASSARE, was born at Bologna in 
1563. He was instructed by Bartolommeo Passa- 
rotti, and visited Rome during the pontificate of 
Gregory XIII., by whom he was employed in the 
Vatican. He painted with great power and free- 
dom, both in oil and fresco. His principal works 
at Rome are the cupola of the chapel of San 
Francesco in the church of the Gesu; the vault 
of the choir in St. John Lateran; and the ‘ His- 
tory of Susannah,’ in the church of her name. He 
executed also some paintings in the town-hall at 
Viterbo. He died at Rome in 1638. 

CROCE, Santa. See SANTA CROCE. 

CROCE, Troporo DELLA, See VERKRUYS. 

CROCIFISSAJO, GrroLamMo DEL. See MAccHI- 
ETTI. 

CROCIFISSI, Simone per. See Botoana, SIMONE 
DA. 

CROISEY, P., a French line-engraver and pub- 
lisher, who worked at Versailles, and died at the 
commencement of the present century, executed a 
large number of maps. He also engraved an oval 
medallion of Queen Marie Antoinette, when Dau- 
phiness of France, which is one of the best portraits 
extant of the youthful princess. 

CROISIER, Marie Anne, a French engraver, 
born in 1765, was a pupil of Augustin de Saint- 
Aubin, She at first engraved some subjects after 
the old masters, but these she abandoned for poli- 
tical pieces in the days of the Revolution. There 
is by her a beautifully executed plate representing, 
in three small medallions, the Duke of Orleans, the 
Duke of Chartres (Philippe Hgalité), and the 
Duchess of Chartres. 

CROLA, Grora HEInRIcH, a German landscape 
painter, was born at Dresden in 1804. He went to 
Munich in 1830, and was until 1840 a prominent 
member of the group of landscape painters estab- 
oe in that city. In the latter year he married 


A BIOGRAPHICAL DICTIONARY OF 2 


~. 


and settled in the Harz, where he died at Ilsenburg_ i 
in 1879. ae eae 


CROLL, Francis, was born at Edinburgh in 1827, 


and was first articled to an engraver, naturalist, — 


and excellent draughtsman of that city, named a 
He was subsequently placed with R.C. 


Dobbie. 


Bell, with whom he remained two years. Besides — 


his labours for Bell, Croll had found time to attend __ 


the drawing lessons given by Sir William Allan, the 
then director of the schools of the Scottish Academy, 
by which he greatly profited. Besides the por- 
traits with which he was entrusted by the publishers - 
of Edinburgh for their various works, Croll en-— 


_graved ‘The Tired Soldier,’ after Goodall, for the 
Vernon Gallery. The Scottish Society for the 


Encouragement of Art commissioned him to 
engrave one of the series of plates from the designs 
of John Faed for ‘The Cottar’s Saturday Night,’ 
but this unhappily he was not able to complete 
before his death, which took place in 1854. 
CROME, JoHN—or ‘Old Crome,’ as he is usually — 
styled to distinguish him from his eldest son, John 
Bernay Crome, who was also a painter—was born 
in a small public-house in Norwich, in 1769. His 
father was a journeyman weaver by trade, and his 
early surroundings were of the poorest description, 
and it is not likely that he received more than the 
mere rudiments of education. At twelve years of 
age he started in life for himself in the capacity of 
errand-boy to Dr. Rigby, a physician in Norwich ; 
but finding the distribution of medicine an unsatis- 
factory employment for his youthful energies, he 
soon gave it up, and of his own accord apprenticed 
himself for seven years to a certain Frank Whisler, 
a house and sign painter in Norwich. Here’he ~ 
learnt the use of the brush, and quickly became 
ambitious of applying it to other subjects than 
the painting of cornices and coaches. After his 


apprenticeship was over he worked for a time as 


journeyman to Whisler, and is said to have been 
the first painter who practised graining in imitation 
of the natural marks in wood. During this period 
he formed an intimate friendship with Robert Lad- 
brooke, who was then an apprentice to a printer. 
The two youths spent all their spare time in draw- 
ing and studying together, sometimes from old 
prints, but more often from nature. 

Among Crome’s earliest patrons were Sir 
William Beechey, and a Mr. Harvey, who let him 
copy from his collection of Flemish and Dutch 
paintings. Whenever Crome went to London he 
passed a great part of his time in Beechey’s 
painting-room, gaining all the practical instruc- 
tion he could. He was also patronized by Mr. 
John Gurney, of Earlham, and Mr. Dawson 
Turner ; but in spite of the help afforded by these 
and a few other Norfolk gentlemen, it is to be 
feared that Crome had a hard struggle before 
assuring a position. He found himself obliged 
to devote more and more time to teaching, which 
brought him for a long period far better remunera- — 
tion than landscape painting. Imnsensibly, also, 
it brought him into greater local repute, for it 
made him known in many families of high stand- 
ing around Norwich, who commissioned pictures 
and spread his fame at all events in his own 
county, and he became the founder of the only 
local school of painting in England of any import- 
ance. 
Academy until 1806, and during the whole of his 
career the total number of his works sent for ex- 
hibition amounted only to fourteen. 


He was not even an exhibitor at the Royal 


Vero TOrGielhy Esc 


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Weave Twi epi: 


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ae 


i 


ee ee tee a tee ae sete a a nes ae ee ee ee eet aa 
8 A A 2 = 


a, After a time he achieved a large local celebrity, 


and his paintings were quickly sold to Norfolk pur- 
_ chasers without the trouble of sending them to 


_ London. He never, it is true, got a very high 
price for his works, fifty pounds being, it would 
seem, about as much as he usually got for a finely 
_ finished work, even to the end of his life; but he 


managed to win a comfortable independence, and 


‘to live in respectable style in his native city. 

In 1803, Crome, in conjunction with ~ several 
amateurs and a number of young artists whom 
he had by this time gathered around him, founded 
what was called “The Norwich Society of Artists,” 
for the purpose of encouraging a love of the Fine 

_ Arts and promoting artistic culture. 

The first exhibition of the Norwich Society was 
held in 1805, two years after its commencement. 
It contained 223 works in oil and water-colour, and 
several specimens of sculpture and engraving. 

_ Twenty-three of these works were contributed by 
Crome, who, it would seem, must have been 


. _ travelling about this time, for among the subjects 


enumerated are ‘ A Scene in Cumberland,’ ‘ Interior 
of Tintern Abbey,’ ‘ View of Piercefield-on-the- 
Wye,’ ‘Part of Chepstow Castle,’ ‘Part of the 


g _ Chapel in Chepstow Castle,’ and ‘ Waterfall at St. 


Michael’s-le-Flemings, Westmoreland,’ against 
_ which last is noted in the catalogue ‘coloured 
onthe spot.” By this it would appear that the 
painting in question was in water-colours; for 
Crome, strange to say, seldom painted in oils out 
of doors. He made careful studies and sketches 
from nature, and must have been gifted with 
remarkable powers of observation, for he rarely 
misses any detail of sky, stream, or leaf; but his 
ictures nevertheless were painted in his studio, 
ike those of his prototypes, the Dutch landscapists. 
Crome travelled a little in England and Wales at 
various times, as may be seen by the places repre- 
sented ; and once, in 1814, he extended his journey- 
ing to Paris, going by way of Belgium, where he 
must have found the scenery familiar, though the 
only record he appears to have made of it, beyond 
slight sketches, is his ‘ View on the Ostend Canal 
at Bruges,’ a fine moonlight effect, that was evi- 
dently noted on the spot and afterwards reproduced, 
About this time he painted the ‘ Boulevard des 
Italiens, Paris,’ and the ‘ Fish-market on the Beach 
at Boulogne.’ 

Crome was now in the receipt of a good income, 
for although, as before said, he never, even to the 
last, obtained high prices for his pictures, he painted 
a great many, contributing generally eighteen to 
twenty different works to the Norwich Society’s 
annual exhibition. 

In 1810 he was elected President of the Norwich 
Society ; John Sell Cotman, the second best artist 
of the school, being associated with him as Vice- 
President. Among the members were now to be 
reckoned such men as James Stark, George Vincent, 
Joseph Stannard, John Thistle, the etchers Edmund 
and Richard Girling, and John Bernay Crome, all 
of whom accomplished good work as landscapists 
ander Crome’s influence. In 1816, however, there 
came a secession from this flourishing little Society, 
and a separate exhibition at the Assembly Rooms 
Plain. 

It was from the midst of society such as this, 
from a busy, jolly artist life, that Crome was called 
away on the 22nd of April, 1821, after a few days’ 
illness. His last words are said to have been, 
‘“‘ Hobbema, my dear Hobbema, how I have loved 


At sg PAINTERS AND ENGRAVERS. 


you!” An exhibition of his paintings was held in 
Norwich shortly after his death, when one hundred 
and eleven of his works were gathered together, 
including those that remained unsold in his studio. 
But even this exhibition, though it greatly increased 
his local fame, did not make him more known to 
the world at large, and thus it has happened that 
up to the present day almost all his pictures have 
remained as cherished possessions in Norfolk 
homes, very few comparatively having found their 
way into the market. In 1878, at the Winter 
Exhibition at the Royal Academy, there were no 
less than twenty-seven of his works exhibited. 
They attracted much attention and high praise. 

Of his extensive landscapes, embracing generally 
a far-reaching view over heath and hill, with a wind- 
mill or two to give human interest to the scene, the 
well-known picture of ‘Mousehoid Heath,’ in the 
National Gallery, may be taken asa good example. 
This was painted about the year 1816, and shows 
his powers at their full, He painted it, as he once 
remarked, for the sake of “ air and space;” and, 
in truth, we feel, in looking at it, that here there 
is plenty of room in which to breathe. 

The National Gallery also possesses a ‘ View at 
Chapel-Fields, Norwich,’ wherein the chequered 
sunlight falling through the trees has a very 
delightful effect ; ‘The Windmill,’ a pleasant 
country scene, painted with forcible realism and 
thorough understanding of light and shade; and 
the solemn and somewhat dreary ‘ Slate Quarries.’ 

In his etchings—for we must regard Crome as 
an etcher as well as a painter—he dealt chiefly 
with woodland and river scenes. Nothing can, in 
its way, be much more perfect than his rendering 
in etching of the little bits of picturesque beauty 
that he met with in his daily walks. His etchings, 
chiefly done for his own delight, were not pub- 
lished until after his death, when thirty-one were 
collected, and a small number worked off for the 
benefit of his widow, under the title of ‘ Norfolk 
Picturesque Scenery.’ Another edition, in which 
some of the plates were re-bitten by Mr. Ninham, 
and others re-touched by Mr. Edwards, appeared 
in 1838, with an Essay by Dawson Turner, There 
is a fine collection of Crome’s etchings in the | 
British Museum, most of them being represented 
in two, or three, and sometimes in four different 
states. 

CROME, Joun Bernay, the son of ‘Old Crome,’ 
was born in 1793 at Norwich, and was educated 
as a painter. He first exhibited in his native 
city, but from 1811 until the close of his life 
he was an occasional contributor to the Royal 
Academy. He died in 1842 at Yarmouth, where 
he had resided for some years. His works are 
similar in style to those of his father, but are far 
inferior. 

CROMEK, Ropert Harriey, was the son of 
Thomas Cromek, of Berwick-in-Elmete, Yorkshire, 
and was born at Hull in 1771. He was originally 
intended for the law, but showed so much aversion 
to that profession that he was permitted to follow 
his own strong inclinations for literature and the 
fine arts. He first went to Manchester, and there 
studied hard for some time, when, showing an evi- 
dent taste and talent for engraving, he was sent to 
London and put under Bartolozzi’s care. He en- 
graved many of Stothard’s designs for book-plates, 
which was then about the only work engravers 
could find to do. He also engraved the ‘Can- 
terbury Pilgrims,’ concerning which he laboured 

357 


A BIOGRAPHICAL DICTIONARY OF 


for some time under the false imputation of having 
first seen Blake’s design for that subject, and then 
induced Stothard to draw it for him as a speculation 
in engraving. Among Cromek’s works may be men- 
tioned the illustrations to Blair’s ‘Grave’ ; those in 
‘The Reliques of Robert Burns,’ published in 1808 ; 
and those in ‘The Remains of Nithsdale an 

Galloway Song,’ published in 1810 ; also the plates 
in Gesner’s works, after Stothard, and the plates in 
Sharpe’s edition of ‘The Spectator.’ He died in 
London in 1812. 

CROMEK, Tuomas Hart ey, the son of Robert 
H. Cromek, was born in London in 1809. His first 
instructor in art was James Hunter, a portrait 
painter at Wakefield; but in 1826 he went to 
Leeds, and there studied landscape painting under 
Joseph Rhodes, an artist of considerable ability, 
and also instructed himself in anatomical drawing. 
In 1830 he decided to go to Italy for the purpose 
of perfecting himself by the study of the great 
masters. He passed through Belgium, the Rhine 
country, Switzerland, and Florence, and at length 
reached Rome, where he soon attracted attention 
by the excellence of his drawings and his careful 
colouring. From 1831 until 1849, with the excep- 
tion of two short visits to England, Cromek passed 
his time in visiting and making drawings of the 
principal buildings and the picturesque scenery of 
Italy and Greece. In 1850 he was unanimously 
elected an Associate of the New Society of Painters 
in Water-Colours, when he retired to Wakefield, 
where he died, after a long and painful illness, in 
1873. His drawings, which are chiefly to be found 
in the royal and private collections, are much 
esteemed for the beauty of their colouring and 
their truthfulness to nature. 

CROMER, Gtutio, a pupil of Mona, was born in 
Silesia before 1570, and died at Ferrara in 1632. 
In the latter city he painted ‘The Preaching of 
St. Andrew,’ for the church dedicated to that 
saint; also ‘The Calling of SS. Peter and 
Andrew.’ 

CRONE, Rosert, was born in Dublin about the 
middle of the last century, and received his early in- 
struction from Robert Hunter, the portrait painter ; 
but he soon left that branch of the profession, and 
commenced painting landscapes, in which he 
achieved considerable success. He afterwards 
went to Rome and studied under Richard Wilson. 
From 1772 until 1778 he annually exhibited at 
the Royal Academy, although much hindered 
and tried by ill-health superinduced by frequent 
epileptic fits. His first exhibited pictures were 
two landscapes called ‘Morning’ and ‘ Evening.’ 
Crone likewise exhibited drawings, some of which 
were finished after Richard Wilson’s style in 
black and white chalk on a bluish-grey paper. 
His landscapes are now very scarce and much 
sought after; a few examples are in the Royal 
Collection, He died in London in 1779. 

CRONENBURG, (or CronEnBurRcH,) ANNA VAN, 
a Dutch painter, was born at Pietersbierum in 
1552. She married Jan Craen, and secondly, in 
1579, Jelle Sybes van Wythama, burgomaster of 
Leeuwarden. Four female portraits by her are in 
the Madrid Museum. 

CRONSTADT, Jacos Lucius von. See Corona. 

CROOCK, Husert pe. See De Croock. 

CROOS, Jacobus VAN, a Dutch landscape painter, 
flourished in the latter part of the 17th century. 
There is in the town-hall of the Hague a ‘ View 
of re clas painted by him in 1666. 


? a a = L wir 
ben ~ ns : ; = » ii ‘ o 
RES" lea ee 


CROOST, ANTONIE VAN DER. 
Croost, ‘ 

CROSS, Joun, the son of , 
a lace factory at Tiverton, was born in that tow: 
1819. Soon afterwards his father went to St. 
Quentin, as superintendent of an English factory, 
and young Cross was admitted into the School of — 
Design, and there showed so much ability that he 
was sent to Paris, where he entered the atelier of 
Picot, a painter of some celebrity in the old classic _ 
school. In 1843 Cross sent to the competition for _ 
the decoration of the Houses of Parliament, heldin 
Westminster Hall, a cartoon of ‘ The Assassination _ 
of Thomas a Becket,’ which, from not fully com- 
plying with the terms of the competition, was not 
successful. His second attempt in 1847, with the 
oil-painting of ‘The Clemency of Coeur-de-Lion, 
gained for him the first premium of £300, and 
was afterwards purchased by the royal commis- 
sioners for £1000. In 1850 he first exhibited atthe 
Royal Academy, his subject being ‘The Burial of 
the Young Princes in the Tower.’ This wasfollowed 
by ‘Edward the Confessor leaving his Crown to 
Harold,’ in 1851; ‘The Death of Thomas 4 Becket,’ 
in 1853; ‘Lucy Preston’s Petition,’ in 1856; and 
‘The Coronation of William the Conqueror,’ in 
1859; but none of Cross’s later productions equalled _ 
his first effort, for they were all deficient alikein 
drawing, colour, and execution, His death occurred 
in London in 1861, after which his friends bought __ 
his ‘ Assassination of Thomas 4 Becket,’ and placed 
it in Canterbury Cathedral. | a 

CROSS, MIcHAEL, was a painter employed by 
Charles I. to copy some of the fine picturesin Italy, 
and who is said to have contrived to abstract a 
‘Madonna’ by Raphael from the church of St. 
Mark, at Venice, and instead thereof to leave his 
copy. The picture was sold with the rest of the 
Royal Collection, and is said to have been pur- ~ 
chased by the Spanish Ambassador, together with 
the ‘Twelve Cesars’ by Titian, for the King of 
Spain. Charles certainly knew nothing of the 
theft ; nor can it be supposed that he mistook the _ 
original for a copy. : - 

CROSS, Tuomas, was an English engraver, who 
flourished from about 1645 to 1685. He was ~ 
chiefly employed in producing portraits and plates 
for the booksellers, mostly from his own designs. _ 
We have by him, among others, the following 


See 4 iz 


‘ iy atti 
the superintendent of 


2 
yy 


P 
LD a 
« 

ae 


y 


s 
a 
© 


portraits : * 
King Richard III. 7 
Francis Bacon, Viscount St. Alban’s. 
Sir Robert Cotton Bruce, Bart. 
Joseph Hall, Bishop of Exeter. 
George Webbe, Bishop of Limerick. 
Richard Cromwell. +, 
CROSSE, Lewis, was a celebrated miniature — 

painter in the time of Queen Anne, who enjoyed 

the patronage of the most distinguished personages 
of that period. He also highly excelled in painting _ 
copies in water-colours from the old masters. He 
is said to have succeeded so admirably in a por-- 
trait of ‘Mary, Queen of Scots,’ painted by him for 
the Duke of Hamilton, who wished him to make it 
as handsome as he could, that for many years it 
was considered to be a painting of the 16th cen- 
tury, and on that account many times copied. He 
formed a valuable collection of early miniatures 
and drawings, which he sold in 1722. Hediedin 

1724, a 

CROSSE, Ricard, a miniature painter, was born 


in Devonshire in 1745. He was a member of the 
ar, 


a 


Free Society of Artists in 1763, with whom he 
exhibited from 1761 to 1769. His first appearance 
at the exhibition of the Royal Academy was in 
1770, and he continued to exhibit there up to 1795. 
He is said by Haydon to have been dumb, and to 
_ have made his fortune by his art in early years; 
also, to have retired to Wells on account of being 
_ disappointed in his hopes of marrying Haydon’s 
mother. He was celebrated for his miniatures and 
small whole-lengths in water-colours. In _ this 
latter style he painted the portrait of Mrs. Billing- 
ton, exhibited by him in 1778. In 1790 he was 
appointed painter in enamel to King George III., 
. Siboesh he practised very little in his later 
years. He died at Knowle, near Cullompton, in 
1810. The South Kensington Museum has by him 
a miniature portrait of Captain Swinburne. 
+ CROUTELLE, Lovis, a French line-engraver, 
_ who executed chiefly book-plates and vignettes, 
was born in Paris in 1765, and was a pupil of 
Delaunay. His most interesting work is an alle- 
_ gorical portrait of Voltaire, published in the Kehl 
-___ edition of the philosopher’s works, proufs of which 
are extremely rare. He died in Paris in 1829. 
— | CROWLEY, Nicnotas J., was born in Ireland, 
and was elected a member of the Royal Hibernian 
Academy in 1838. In that year he came to 
London, and his works were constantly to be 
geen in the Royal Academy Exhibitions, The 
first picture which he exhibited in London, in 
1835, was ‘The Eventful Consultation,’ and had 
been sent from Belfast, where he then resided. 
He was highly esteemed as a portrait painter, and 
-—s- was especially clever in painting portrait groups. 
___ His death occurred in 1857. 
- . CROWQUILL, Aurrep. See Foresrer, A. H. 
CROZIER, J. P., was a French engraver of 
talent, whose history is unfortunately lost to us. 
We know only that he flourished about 1646, from 
which we may conjecture that he was born about 
1620. We have by him the following plates, 
which are very scarce: 


The Healing of the Paralytic. 

St. John in the Desert. 
Silenus about to make an offering at the Altar of 
- Bacchus. 


There is also a plate existing by a J. J. Crozinr, 
engraved in honour of the appointment of Cardinal 
Bicchi as Papal Nuncio. 

CRUG, Lupwia. See Krue. 

CRUGER. See Krier. 

CRUIKSHANK, Gerorcz, the younger son of 
Isaac Cruikshank, was born in London in 1792. 
Very early in life he had a predilection for the sea, 
but his mother opposed the wish, and urged his 
father to instruct him in art. This, however, the 

_ father refused ; saying, that if George was destined 
to become an artist, he would find the way without 
any instruction. The youth applied for admittance 
into the Royal Academy schools, but was unsuccess- 
ful. His father died when he was still very young ; 
and when that event took place, he determined to 
do his best to support his mother. Some wood 
blocks which his father had on hand were finished 

_by him, and from that time his employment was 
secured, and his destiny in life fixed. He was 
soon engaged in a variety, of undertakings. He 
illustrated with caricatures a monthly periodical 
ealled ‘The Scourge,’ and also one called ‘The 
Meteor,’ which he founded in conjunction with a 
person named Erle. He executed a great deal of 


a 


PAINTERS AND ENGRAVERS. 


this kind of work for Hone, most of whose publi- 
cations about that time bear the marks of his 
active pencil. And not only with his pencil did he 
assist Hone, for to the imagination of the young 
artist the origin of many of the best political 
squibs, such as the ‘Slap for Slop,’ was mainly 
due. Merely to enumerate the pictorial trifles 
which that epoch of his career produced, would 
be an endless task. His was ‘The Queen’s Matri- 
monial Ladder,’ ‘The Man in the Moon,’ and ‘Non 
mi ricordo’—all squibs referring to the infamous 
trial of Queen Caroline. A collection of the political 
caricatures which were published by Cruikshank 
at this time would furnish a kind of political his- 
tory of the day, and would even illustrate many 
of the changes of opinion which prevailed. The 
first work of any great importance in which Cruik- 
shank bore part was the famous ‘ Life in London,’ 
the original suggestion of which was due to him 
alone. The original design was to publish a 
series of tableaux illustrating the bright side of 
‘life’ in London, and also the reverse. He was 
ultimately persuaded, however, to develop the idea 
in collaboration with his brother Robert and Pierce 
Egan, and the result was that whilst the last-named 
gentleman derived all the glory of writing one of 
the most popular books of the time, the wholesome 
moral which was originally intended was entirely 
lost sight of. Disgusted with the perversion of 
his plan, George Cruikshank virtually left the com- 
pletion of the plates to his brother Robert. After 
this, Cruikshank illustrated a periodical called ‘The 
Humourist.’ In 1823-26 he illustrated with some 
capital etchings Grimm’s ‘German Popular Stories,’ 
and ‘Fairy Tales’; and soon after published a 
very curious set of comic prints called ‘ Points of 
Humour.’ From this time he was called upon to 
illustrate many of the most popular works of the 
day. In 1847, although not at that time a tee- 
totaller, he published a series of eight woodcuts, 
called ‘The Bottle,’ which were very successful. 
To this he next year added ‘The Drunkard’s 
Children,’ intended to show the terribly degrading 
effects of the immoderate use of strong drink, 
He also published, ‘Sunday in London,’ ‘The Gin 
Trap,’ and ‘The Gin Juggernaut,’ all of which had 
an immense circulation, and no doubt helped to 
further the cause of temperance. Whilst he was 
thus engaged, he was waited upon by some dis- 
ciples of Father Mathew, who convinced him that 
‘moderate drinking’ was not the best way to aid 
the temperance movement, and Cruikshank, enter- 
ing into the movement with all the fervour of a 
naturally ardent temperament, became a total 
abstainer. 

In his later years George Cruikshank tried oil- 
painting, but his works in this branch of art are 
as much caricatures as any etching he ever exe- 
cuted; yet they betray a marvellous power of 
grotesque humour and deep insight into human 
nature. His ‘Cinderella,’ painted in 1854, is in 
the South Kensington Museum, and the last and 
greatest of his efforts in oil-painting, ‘The Wor- 
ship of Bacchus,’ painted for the National Tem- 
perance League in 1862,is now in the National 
Gallery. This picture is a crowded and imaginative 
conception, full of weird fancies, and as a work of 
art most unsatisfactory. He died in London in 
1878, and was buried in St. Paul’s Cathedral. The 
following, arranged in chronological order, are the 
most important of the books which he illustrated 
with etchings: 


359 


Life i in London; or the Day and Night Scenes of J erry | 


Hawthorn, Esq. ., Corinthian Tom, and Bob Logic, in 
their rambles through the metropolis. By Pierce 
Egan. With eed plates by G. and R. Cruik- 


ahaa 1821. 

Grimm’s German Popular Stories. 1824-26. 

Hans of Iceland. 1825. 

Mornings at Bow Street. 1825. 

Grimm’s Fairy Tales. 1827. 

Punch and Judy. 1828. 

John Gilpin. By Cowper. 1828. 

The Epping Hunt. 1830. 

The Novelist’s Library. Edited by T. Roscoe. 1831-32. 

My Sketch Book; containing 200 groups. 1833-34. 

Thirty-five Illustrations of Don Quixote, in a series of 
fifteen plates, designed and etched by G. Cruik- 
shank. 1834. 

The Comic Almanac. 1835-52. 

Sketches by “ Boz ” (Charles Dickens). 

Memoirs of Joseph Grimaldi. 1838. 

Jack Sheppard. 1839. 

Oliver Twist. (By Charles Dickens.) 1839. 

The Ingoldsby Legends. (By R. H. Barham.) 
i—iii. 1840-47. 

George Cruikshank’s Omnibus. Edited by L. Blanchard. 
1842 


George Cruikshank’s Table Book. Edited by G. A. 4 
Beckett. 1845. 

Windsor Castle. 1847. 

The Miser’s Daughter. 1848. 

Three Courses and a Dessert. 1849. 

The Loving Ballad of Lord Bateman. 1851. 

George Cruikshank’s Fairy Library. 1853. 

The Tower of London. 1854. 

Guy Fawkes ; or, the Gunpowder Treason, an historical 

romance. 1857. 
Fuller details may be found in Mr. G. W. Reid’s 
Descriptive Catalogue of the Works of George 
Cruikshank,’ published in 1871. 

CRUIKSHANK, Isaac, was born at Edinburgh 
in 1756 or 1757. His father had been one of the 
followers of the Pretender, and had lost his pro- 
perty in that hopeless cause. Isaac first came to 
London at the close of the last century, and, after 
the death of his father, tried to gain his living 
by drawing caricatures. He was the contemporary 
of Rowlandson and Gillray, and his first published 
print was one in defence of Pitt in 1796, who was 
at that time bitterly assailed by Gillray. The 
greater part of the humorous sketches iilus- 
trating the works of Dean Swift, Joe Miller, and 
John Browne, and published by Messrs. Laurie 
and Whittle, were by Isaac Cruikshank. He 
exhibited at the Royal Academy in 1789, 1790, 
and 1792, and in his water-colour drawings ex- 
hibited some talent. He died in London in 1810, 
or the year following. He was the father of 
Robert Isaac and George Cruikshank. 

CRUIKSHANK, Rozzerr Isaac, the elder son of 
Isaac Cruikshank, was born in or about 1790, and 
commenced life as a midshipman on board the East 
India Company’s ship ‘Perseverance.’ Probably 
influenced by his brother George’s success as a 
caricaturist and artist, he left the service and 
practised in water-colours and made comic designs, 
in which, however, he rarely went beyond medi- 
ocrity. He was connected with his brother George 
in illustrating ‘The Universal Songster,’ 1828 ; 
and ‘Cruikshank at Home,’ which was followed 
by a supplementary volume, entitled ‘The Odd 
Volume,’ in illustrating which Robert Seymour 
was associated, Robert I. Cruikshank’s best draw- 
ings were those made for the illustration of 
Cumberland’s ‘British Theatre’ and ‘Minor 
Theatre.’ His designs on wood were often excel- 
lent, but generally spoilt by the engraver. His 
death occurred i in 1856. 


1836-37. 


Series 


designer and engraver, was pce a 
the year 1640, and died there in 1720. 
signed the views of the most interesting ol 
and near Rome, enriched with figures. and 
these are touched with spirit and in a 
style. Several of his drawings have been en 
by Giulio Testa; and we have by him some av 
interesting etchings from his own ae 


ing are by him: 


A set of Twenty-three ae of Ancient and 
Rome; ZL. Cruyl del. et scul. : ¥ 

A set of Views of Roman Ruins, &e. 

The Triumphs of the Roman Emperors ; after A 
Mantegna ; ten plates. fy 


CRUYS, Tuxopor ver. See VERKRUYS. — 

CRUZ, Juan PANTOJA DELA. See PANTOJA. 

CRUZ, ManveEL and MIGUEL DELA. See DELA 
Crvz. ea 

CRUZ, Santos. See Santos Cruz j= 

CTESICLES, (or CLESIDES,) was a painter. 0 
Ephesus, who was living in B.0, 294. Althoug 
this artist is not spoken of as a painter of ver 
distinguished talents, yet he may be presum 
to have possessed some merit, from the celebrity 
he acquired by the outrageous "insult he offered to 
Stratonice, the queen of Antiochus. Piqued at not 
being treated by her with the distinction which he — s 
thought he merited, he painted a picture of her in 
the arms of a fisherman, whom rumour gave to her — . 
as a paramour, and placing it in the most public 
part of the port of Ephesus, he immediately em 
barked. Stratonice, however, would not suffer the 
picture to be destroyed, such was the exact resem-_ 
blance the artist had given both to. herself and the 
object of her affection. 

OTESILOCH US, a Greek painter of the time of 
Alexander, was a disciple of Apelles, and is chiefly 
remarkable for the singular manner in which he 
treated one of his principal works, representing 
the Birth of Bacchus. ‘ 

CUERENHERT, Dirx VoLKERrsz, (or Koorn- 
HAERT, ) a Dutch engraver, was born at Amsterdam 
in 1522. He is more distinguished as a religious 
controversialist than as an artist. He has, however 
the credit of having been the instructor of Hen i 
drik Goltzius. He resided at Haarlem, but died at 
Gouda in 1590. Heinecken and Huber have given _ 
catalogues of his engravings, but they are far from 
being complete. His plates are signed with th 


initials D. V. C., or with the monogram Be - 
Amongst them are the following: f 


The Creation of the World. Seven plates. 

The Descent from the Cross; after L. Lombard. 1556. 

Joseph explaining his Dream ; after M. Heemskerk. 

Joseph interpreting the Dreams of the Prisoners 0: 
Pharaoh; after the same. 

Job reproached by his Wife; after the same. 

Balaam and his Ass; after the same. 1554. 

The Elector of Saxony appearing before Charles v. 
after the same. 

The Landgrave of Hesse Cassel before Charles V. 
after the same. 


CUEVAS, —, a Spanish painter, was a native of g 
Huesca, who studied under and assisted Tomas 
Pelegret in his decorative paintings for the cathe- 
dral of that city. He flourished about the middle a 
of the 16th century, and died at Huesca at the age S: 
of 33. 


_ CUEVAS, Evcenio and Pepro pe Las. See De 
LAS CUEVAS. 
_ CUITT, Grorex, the elder, was born at Moul- 
ton, in Yorkshire, in 1743, and having shown a 
natural taste for drawing and design was sent to 
Italy at the expense of Sir Lawrence Dundas, 
_ whose family had already been painted by him. 
He studied earnestly for six years at Rome, and 
also pursued landscape painting, a branch of art 
_ that was more congenial to his tastes. He re- 
turned to England in 1775, and in 1776 he 
_ exhibited at the Royal Academy ‘The Infant 
_ Jupiter fed with goat’s milk and honey.’ He 
afterwards exhibited portraits and landscapes, his 
_ Jast contribution being in 1798. Owing to fre- 
quent attacks of low fever he was unable to reside 
in London, and he finally settled at Richmond in 
_ Yorkshire. Here he found constant employment 
_ in the commissions given him by gentlemen whose 
- Soh and residences were in his neighbourhood. 
_ His death occurred in 1818. His portraits are 
elaborately finished, although very thinly painted, 
_ whilst his earlier landscapes show much ability 
and feeling in their execution. 
- CUITT, Grores, the younger, the only son of 
the painter of the same names, was born at 
_ Richmond, in Yorkshire, in 1779; He followed his 
father’s profession from his youth, and added to it 
the art of etching, which he developed with great 
success, being induced to do so by a careful study 
of Piranesi’s ‘Roman Antiquities.’ He went to 
Chester, where he became a teacher of drawing, 
ia and published, in 1810 and 1811, ‘Six Etchings of 
+» Saxon and other Buildings remaining at Chester,’ 
‘Six Etchings of Old Buildings in Chester, and 
‘a ‘Six Etchings of Picturesque Buildings in Chester,’ 
and, in 1815, five etchings for a ‘ History of Ches- 
ter.’ About 1820, having realized a certain com- 
petence by his labours, he retired from the more 
active duties of his profession, and built himself a 
house at Masham, near Richmond, from whence he 
_ published his ‘ Yorkshire Abbeys,’ and in 1848 his 
collected works, under the title of ‘ Wanderings and 
Pencillings amongst the Ruins of Olden Times.’ 
These etchings exhibit considerable talent, verve, 
originality, and truth. His death occurred at 
Masham in 1854. 

CULMBACH, Hans von. See Fuss. 

CUMING, Wiu14y, flourished at Dublin in the 
early part of the 19th century, and in 1823 was 
one of the three artists chosen by their fellows 
to elect the remaining eleven who formed the 
nucleus of the Royal Hibernian Academy. He 
was chiefly esteemed for his female portraits. 

CUNDIER, Jacques, a French engraver, born in 
1691, was a native of Aix. There are by him a 
large number of portraits which bear dates ranging 
between 1717 and 1727. 

CUNEGO, Domenico, an Italian designer and 
engraver, was born at Verona in 1727, and died 
at Rome in 1794. He was instructed in the art of 
painting by Ferrari, but devoted himself after- 
wards entirely to engraving. His copies from the 
works of the Italian masters gained him a great 
reputation, and his plates are distinguished for 
their deep appreciation of the original, excellence 
of design, and beauty of execution. He engraved 
several portraits of the royal family of Prussia ; 
and was employed by Mr. Hamilton to engrave 
some of the plates for his ‘Schola Italica.’ Cunego 
afterwards came to England, and engraved some 
plates for Boydell’s collection. Among many 


> = 


wees “its oie oe fa ERE OEMS nike sea See RT MEI Neh Se iihe * a et = 
ea os — Ne Sea ee er a ee 7 er es 
+e 7 - x - mK Sg : > a ig ae o 


PAINTERS AND ENGRAVERS. 


others we have the following engravings by this 
artist : 


SUBJECTS FOR HAMILTON’S ‘SCHOLA ITALIOA.’ 
Three subjects of the Creation, from the Sistine Chapel ; 
after Michelangelo. 


Raphael’s Mistress, called ‘La Fornarina’; after 
Raphael. 


Galatea; from the picture in the Barberini Palace; 
after the same. 

Ganymede ; after Titian. 

Head of the Magdalen ; after Guido. 

The Prodigal Son; after Guercino. 

The Birth of St. John the Baptist; after L. Carracct. 

Galatea, from the Farnese Gallery; after Agostino 
Carracct. 

Apollo and Silenus; after Annibale Carracet. 

St. Cecilia receiving the Palm of Martyrdom; after 
Domenichino. 


SUBJECTS AFTER VARIOUS MASTERS. 
Portrait of Raphael Mengs; after Mengs. 1778. 
The Virgin and Infant; after the same. 
Five sheets after Paintings in the Library of the 
Vatican ; after the same. 


The History of Achilles and Hector; five plates 3 after 
G. Hamilton. 

The Virgin and Infant ; after Correggio. 

The Entombment ; after Raphael. 

The Annunciation, the Visitation, the Nativity, the 
Circumcision, the Adoration of the Magi, and the 
Presentation in the Temple; six plates; after 
Domenichino. 1779. 

Rinaldo and Armida; after Guercino. 

A set of thirteen plates of Ruins; after Clérisseau. 

Musical Assemblies and Conversation Pieces; after 
Niccolo dell’ Abbate. 

Portrait of Cardinal de Bernis; after A. Callet. 

Portrait of Emmanuel de Rohan; after Fabré. 1776. 


CUNEGO, GiusrpPE, the younger son of Do- 
menico Cunego, was born at Verona in 1760, and, 
like his brother, was instructed by his father. 
By this artist we have the following plates of 
landscapes : 

Four Italian Landscapes, with figures ; after F. de Capo. 

Kight Landscapes; afterthe pictures by Gaspard Poussin, 

in the Colonna Palace. 

CUNEGO, Luter, the elder son and pupil of 
Domenico Cunego, was born at Verona in 1750. 
He chiefly resided at Leghorn. We have by him 
a few plates, of which the following are the 
principal : 

The Statue of the Apollo Belvedere. 

St. Margaret; after Guercino. 

The Persian Sibyl; after the same. 

Mary Magdalene ; after Guido. 

CUNINGHAM, WIt114M, was a physician, who 
practised at Norwich about 1559, when he pub- 
lished his work called ‘ The Cosmographical Glasse,’ 
which contained many woodcuts, as well as a bird’s- 
eye map of Norwich, the wholeengraved by himself. 

CUNNINGHAM, Epwarp FRANcIs, (sometimes 
called KeLso or CALZE,) was sprung from a good 
Scotch family, and is said to have been born at 
Kelso about 1742. His father, having been im- 
plicated in the attempt of the Pretender in 1745, 
was obliged to fly from Scotland to the Continent, 
and took his son with him. Cunningham studied 
art with much perseverance at Parma, Rome, 
Venice, and Paris. He is said to have assumed 
the cognomen of ‘Calze’ in Italy. Soon after his 
arrival in Paris he inherited the family estates, and 
shortly afterwards a second bequest fell to his 
share; but being dissipated and extravagant he 
speedily ran through all his money, and was then 
induced to follow the Duchess of Kingston to 

361 


: A BIOGRAPHICAL DICTIONARY OF 


Russia. On leaving her Grace he entered the ser- 
vice of the Russian Court, and afterwards went 
to Berlin, where he found full employment as 

a portrait painter. Unhappily his improvident 
habia continued, and he finally came to London, 
where he died in great poverty in 1795. As a 
portrait painter he achieved a deserved success, 
and some of his portraits have been engraved. He 
also painted a few historical subjects. 


CUQUET,, PEDRO. 8 Spanish painter, was born 
'According'to Palomino, his | 
works were cor fined to the churches and convents 


at Barcelona in Bi 


of his native city, the 2 principal being : some pictures 


of the life of St. Francis of Paola, i in the cloister 


of the convent.of that name. He died at. Barce- 
lona.in 1666.» » The ‘ndustrious: restorers, who for 
some time overran Spain, have destroyed the 
greater part of his works. ; 

CUREAU, GUILLAUME, a native of Bordeaux, was 
principally employed i in the early half of the ‘7th 
century in painting the portraits of the Mayors and 
Jurats of Bordeaux. A collection of his works was 
sold by the: city in'1793, but Bordeaux still retains 
in its Museum a portrait of Messire de Mullet, 
Seigneur de Latour, by Cureau, who died in his 
native city in 1647. — 

CURIA, FRANcEsCco, was born at Naples in 1538. 
He was instructed in painting by Leonardo di 
Pistoja, but afterwards visited Rome, where he 
studied the works of Raphael, and other dis- 
tinguished masters. On his return to Naples, 
he painted many pictures for the public edifices. 
He distinguished himself by the grandeur of his 
compositions, the fine expression of his heads, and 
a vagueness of colouring that approaches to nature, 
but was not free from the mannered style, which 
was also adopted by Vasari and Zuccaro. His 
most admired work is that in the Chiesa della 
Pieta, representing the ‘Circumcision,’ It is an 
admirable composition of many figures, painted 
in a fine style, and is considered by Lanzi as one 
of the finest pictures at Naples. He was the 
founder of a prosperous school in that city, and 
died there in 1610. 

CURRADO, Francesco, was born near Florence 
in 1570, and was brought up in the school of 
Battista Naldini. He painted first for the churches 
at Florence, and afterwards visited Rome, where 
he stayed some time and painted several works for 
the King of Portugal, who gave him the Order of 
Christ. After his return to Florence, he was un- 
remittingly occupied during a long life, until he 
reached his 91st year, in painting, and in the 
instruction of his numerous pupils. He painted 
historical subjects, and some of his large works 
are in the churches of Florence: the altar-piece 
of ‘St. Francis Xavier preaching in India,’ in 
the church of San Giovannino, is esteemed one 
of the best. But he chiefly excelled in historical 
pictures of an easel size, of which two of the finest, 
representing the ‘Magdalen’ and the ‘Martyrdom 
of St. Thecla,’ are inthe gallery at Florence. His 
works are composed with taste and judgment, his 
drawing is correct, and his heads are full of ex- 
pression. In his colouring, like most of the Tuscan 
painters, he is more to be admired for sobriety than 
vivacity. He died in 1661. We find of his works: 
Florence. Uffizi. 


” ” 


39 39 ee 
3 Pitti Pal, 


His own Portrait. 

The Magdalen. 

Martyrdom of St. Thecla. 
Narcissus. 

St. Catharine. 

Abraham receiving the Angels. 


ne bed 
Vienna, Gallery. 


362 


| who flourished about the year 1645. He engraved 
‘some portraits, among which is that of Lodovico — 


Pierro and Cosrmo, his brother ant 1 pupil beoam e 
his faithful followers. : 

CURRAN, AmeEz1a, who was the daughter “ht the 
famous Irish advocate and orator, the Right Hon, | 
John Philpot Curran, practised painting only as an 
amateur, She died at Rome in 1847. A portrait 
of Percy Bysshe Shelley by her was exhibited t 
the National Portrait Exhibition in 1868, _ 

CURTI, BERNARDINO, was a native of Bolognal | 


Carracci. We have also by him a middle-sized — 
plate, representing an emblematical subject after” : 
Luca Ferrari. A 4 : 
CURTI, FRANCESCO, | an Italian engraver, was 
born at Bologna about the year 1603, and died — 
there about 1670. He worked. principally with 
the graver, in a neat, clear style, resembling the — 
manner of Cherubino. Alberti, but very unequal to. 
that artist in drawing. Besides some portraits, we 
have the following by him: 4 
Two Busts of the Virgin and St. Catharine, on the a 
same plate. a 
The Virgin teaching the Infant J esus to read; after 
Guercino. eae 
The Marriage of St. Catharine; after ‘D. Calvaert. 
Venus directing Vulcan to forge Arms for Aineas; 
after Carracct. 
Hercules combating the Hydra ; after Guercino. 
The Infant Christ sleeping ; after Guido; etched and 
finished with the graver. A <n 


CURTI, GrroLamo, called In Ae ae) was born” -: 
at Bologna in 1570, and was first a disciple of © 
Lionello Spada, and of Baglioni, a painter of decor- q 
ations, but he afterwards applied himself to study 
from the noble edifices erected from the plans 
of Giacomo Barozzi, called Vignola. He next a 
went to Rome, where he improved his taste by @ 
contemplating the magnificent vestiges of ancient a 4 
architecture in that capital. He was a perfect 
master of chiaroscuro, and gave to his works so 
surprising a relief, that they have the appear- % 
ance of perfect illusion. There are many of his 
works in the palaces and public edifices at Bologna, _ 
in which the figures are painted by the most distin- 
guished of his contemporaries. He died in that ee 
city in 1631. <a 

CURTIS, Caries M., was horn in London in 
1795, and practised chiefly on natural history 
subjects, which he drew with much accuracy and — 
spirit. His brother was the author of ‘ British — 
Entomology.’ His death occurred in 1839. 

CURTIS, Jon, was a landscape painter, and the — 
pupil of William Marlow. He exhibited at the a ; 
Royal Academy from 1790 to 1797, his first 8 
painting being a ‘ View of Netley Abbey,’ and his — 
last a sea-piece, called ‘ Sir Edward Pellew’s Action _ 
with the French Seventy-Four, “Les Droits de ee 
? Homme.”’’ 

CURTIS, Saran, was born in the latter part — 
of the 17th century, and was a pupil of Mrs. 
Beale. On her marriage with Dr. Hoadly, after- 
wards Bishop of Winchester, she quitted her pro- iy, F 
fession, and died in 1743. Her productions are 
mediocre, and- wanting in both life and colour. A 
She painted the portraits of Whiston, Bishop — 
Burnet, and her own husband. Bishop Burnet’s B 
portrait was engraved by William Faithorne. _ q | 

CUSENS. See MonTEMAN Y CUSENS. a 

CUSIGHE, Stwonz pa, also known as SIMONE — 
DAL PERON, both being the names of villages near — 
Belluno, was living in portions of the 14th and 
15th centuries, and is thought to have died close . 


Pe burro, Vi) WubgraR) wos 


dha hy baryrnd Ip oa 


wopury~ hrayu ly pouryny- . ; fie tees peerpro, 


- 


ean 


h 


upon 1416. - The altar-piece of the high altar in 

_ the cathedral of Belluno was executed by him in 

1397. There also remain of his works: 

 Belluno. Saptistery. St. Martin dividing his Cloak: 

Re and sixteen other episodes from 

his life. ~ 

» Casa Pagani. Virgin of Mercy, between 16 
subjects from the life of St. 
Bartholomew. 


@ Ag - CUSTODIS, Hizronymo, was a painter of Ant- 
__-werp, of whom nothing is known beyond the few 


is 
3 = 


___-words he has inscribed on his portraits. Two of 
_ these, Giles Bruges, Lord Chandos, and Elizabeth 
Bruges, Lady Kennedy, are at Woburn Abbey, 


All three were painted in England in 1589, and are 
very poor productions. 


- CUSTOS, Dominicus. See Dz CosreEr. 


CUVILLIES, FRANgoIs, a French architect, and 
engraver of ornaments, was born at Soissons in 1698, 
and went to Paris in 1714 to study architecture 
under Robert de Cotte. About 1720 he was sent 

_ to Cologne to execute work for the Elector James 
Clement, ‘and in 1738 he was nominated architect 
to the Elector of Bavaria, afterwards the Emperor 
Charles VII. He died about the end of 1767 or 
the beginning of 1768. 

-CUVILLIES, Francois, the son of the preceding, 
_-—s-Was an engineer and architect, born at Munich in 
+1734. He succeeded his father at the court of 
Munich, and there published his father’s works in 
1769—1772. He etched some plates of Funeral 
Monuments, Fountains, and Caryatides, and is sup- 
posed to have died about 1805. 

-CUYCK van MIEROP, Frans vaN, (or Cuyck 
vAN MizRHopr,) was born at Bruges in 1640, and 

_ painted in Ghent historical pictures, with portraits 
of the persons in the events depicted, but his 
best productions represent animals, especially fish, 

and some of his works are scarcely to be dis- 
tinguished from those of Snyders. He was de- 
scended from a noble family, and at first painted 
only for amusement; but a reverse of fortune 
compelled him to pursue the art as a profession. 
He died after 1686. The Academy of Bruges has 
a picture of ‘Still Life’ by this painter. 

CUYLENBORCH, ABranam VAN, (CUYLENBURG, 
or KUYLENBURG,) was a painter of Utrecht, who 
flourished in the 17th century. He was instructed 
by Poelenburg, in whose manner he executed land- 

- scapes with idyllic and mythological scenes; his 
figures, however, are but abortive imitations of that 
master. In 1639 he was appointed master of the 
Guild at Utrecht, and his name occurs in the 
records as late as 1660. Among his paintings we 
may notice : 


Brunswick. Gallery. A Grotto. 1646. 

" + A Grotto. 1647. 
Cologne. a Diana. 1660. 
Hague. 9 Diana. 


CUYLENBURG, Cs. van, of Utrecht, painted in 
Holland in the early years of the nineteenth century. 
He died at the Hague after 1816. A portrait of 
Willem Crul by him is in the Amsterdam Gallery. 

CUYP, AELBERT, the son of Jacob Gerritsz Cuyp, 
was born at Dordrecht in 1605, and studied under 
his father. He married in 1658, and lived chiefly 
on his estate, Dordwijk, near Dordrecht, in which 
town he was considered of some importance. His 
name does not occur in the records of the Guild: 


and a third, Sir John Parker, is at Hampton Court. | 


— : PAINTERS AND ENGRAVERS. 


and it is thought by some that he may have practised 
art only as an amateur. But little is known of his 
life. He died in 1691, and was buried in the church 
of the Augustines at Dordrecht. 

Cuyp, who has been called the Dutch Claude, 
acquired the chaste and exquisite style, for which 
he is so particularly admired, by a close and vigilant 
attention to nature, under all the vicissitudes of 
atmosphere and season. His pictures frequently 
represent the borders of the Maas, with shepherds 
and herdsmen tending their cattle. These sub- 
jects he has treated with an enchanting simplicity, 
that may truly be said to be peculiar to him. 


Whether he wished to exhibit the dewy vapour of 


morning, ushering in the brightness of a summer 
day, the glittering heat of noon, or the still radiance 
of evening, nature is perfectly represented. No 
painter, perhaps, has surpassed him in the purity of 
aérial tint. Cuyp did not confine himself to land- 
scapes and figures; he painted with equal success 
sea-pieces and views of rivers, with boats some- 
times sailing with a fresh breeze, sometimes at 
anchor in a sultry calm; winter-scenes, with people 
amusing themselves on the ice; and pictures of 
birds, which would have been a credit to D’ Honde- 
coeter. He excelled also in horse-fairs and skir- 
mishes of cavalry, which he painted with infinite 
spirit, in a manner equal, if not superior, to Wou- 
werman. He was not less happy in his pictures 
of moonlight; in which the works of Van der Neer 
are eclipsed by a superior and a more delicate 
degradation of light. He also painted portraits 
(an example is in the National Gallery), interiors of 
churches, fruit, and flowers; and may thus be called 
the most universal painter of the school to which he 
belonged. The pictures of Cuyp are to be met 
with more frequently inEngland than in any other 
country, and, with the exception of those in the 
Louvre, almost all his masterpieces may be found 
in the public galleries and private collections of 
this country, for it was in England that the beauty 
of his pictures was first appreciated. Till about the 
middle of the 18th century, they could be bought 
for as little as thirty florins a-piece; they now 
fetch as much as £3,000. 

The following are some of his principal works, 
which are usually signed (in early life, A. C., and 
later, A. Cu1sp), but rarely dated. 


Amsterdam. Gallery. 


29 2? 


Hilly Landscape. 

Shepherds with their Flocks in 
a landscape. 

Cavalry Combat. 

View of Dordrecht. 

Moonlight Scene. 

The Two Cavaliers. 


Amsterdam. Siz Coll. 
9? 29 9 
Antwerp. Gallery. 


Berlin. Museum. Sandy Landscape. 

- os Sunny View of the Dunes. 

7 is River Scene. 

a - Cows in a Landscape. 
Brussels. J/usewm. Interior of a Stable, with an Ox 


and Fowls. 


Copenhagen. Musewm. Landscape with Horsemen. 


Darmstadt. Museum. Herdsman and Cattle. 
Dresden. Gallery. Hunting Scene. 

as 9 Boy with a Greyhound. 

& 9 Portrait of Himself, as a bride- 

groom. 

i a A Grey Horse with a Groom. 
Dublin. Nat. Gall. Milking Cows. . | 
Dulwich. Gallery. The White Horse in a riding 


stable. 
Evening Ride near a River. 
A Road near a River. 
Cattle and Figures near a River, 
with Mountains. 
363 


iy 
cas ht 14 


sis. 


5 mn * Dulwich. 
Yiranktore: | Stadel. 
Gallery. 


“Gate. ef Cattle pectic sak: 
+ And others. — EH, 
; Mp arkralt of a Boy. 
Evening Landscape. 
A member of the De Roovere 
Family directing Salmon -fish- 
_ ing in the environs of Dor- 
drecht. 
Landscape, with Cattle and 
Figures: Evening (a master- 


Hague. 


London Nat. Gall. 


ee Portrait (dated 1649). 

Horseman and Cows in a 
Meadow: Evening. 

River Scene with Cattle. 

Ruined Castle in a Lake. | 

The Windmills. 

Cattle and Figures (the ‘ Large 
Dort’). 

Cattle and Figures (the ‘Small 
Dort’). 

is Landscape, with Figures on 

horseback and on foot. 

the 28 } Woman milking a Cow. 

_ House. 

5 Siew on the Meuse. 

A Herdsman, a Woman, and 
Cattle. 

Landscape with River, 

Fishermen on the Ice. 

View of Dordrecht. 

A Horseman holding a white 
Horse. 

Fowls in a Stable. 

Landscape with Shepherd and 
six Cows (a masterpiece). 

Starting for a Ride. 

The Ride. 

Portraits of Children. 

Portrait of a Man. 

Sea-piece 

Landscape and Cattle. 

Portraits of Himself 
Family. 

Cows in a Landscape. 

The Meuse. 

The Scheldt. 

Cattle in a Landscape. 

Horses on the Bank of a River. 

Moonlight at Sea. 

Landscape—W oman with Cows, 

River Scene. 

Interior, with a Forge. 

Two Grey Horses. 

Fish. 

Game. 

Poultry. 

Head of a Cow. 


Aelbert Cuyp has left eight small etchings of 
cows, which, though not executed with much 
delicacy or care, evince the hand of the master, 
They are very scarce. 

CUYP, BENJAMIN, a pupil, and apparently a 
nephew ‘of Jacob Gerritsz Cuyp, was born at 
Dordrecht in 1608, and was received into the 
Guild there in 1631, He formed his style on 
that of Aelbert Cuyp, Rembrandt, and Teniers 
the elder. His subjects are taken from sacred 
history, coast scenery, and peasant life. His 
works are rarely met with in public galleries. 


Buckingham 
Palace. 


Bedford Coll. 
Holford Coll. 
Pinakothek. 


”? 
Louvre. 


9 
Gallery. 


99 


Pesth, 


9 and 


Petersburg. Hermitage. 


Rotterdam. Museum. 
oo 


END OF 


364 


the 
Gallery. 4 
Museum, — ‘The Resurre 


Petersburg. Hi ermitage. 


CUYP, Jacop Gzrritsz, the fath 
brated Aelbert Cuyp, and a pupil of . 
Bloemaert, was born at Dordrecht in 1 
occasionally painted views of towns, landsc 
and battle-pieces, but he is principally famous for 
his portraits. He was one of the four founders of * 
the Guild of St. Luke at Dordrecht. He was sti = 


Peasants quarr 


Amsterdam. Gallery. A Dutch Family. 
Berlin. Gallery. Portrait of anOld Woman 
Re fe Portraits of a newly-1 
Couple. a akg 
Portrait of a Young Man. cv 


Frankfort. Stddel. 
Munich. Pinakothek. 
Petersburg. Hermitage. 
Rotterdam. JZuseum. 


Portrait of a Lady. 
View of a Town ona broad pies 


Three Childcen & ina Land 
1635. 

Portrait of an Officer. 

~ Portrait of a Lady. - 


CUYPERE, Anprizs DE, See STEVENS. 

CYDIAS, a native of Cythnus, who was livin 
in B,C. 364, may be presumed to have been 
painter of considerable ability, as one of his 
pictures, representing ‘Jason and his followers — 
embarking for Colchis, in search of the Golden 
Fleece,’ was purchased at Rome by the orat 
Hortensius for twenty-four thousand sesterces, and 
was afterwards bought by Marcus Agrippa, and 
placed in the Porticus of Neptune to commemorate 
his naval victories. 

CYL, GERARD VAN, a painter of Amsterdam or 
Leyden, who, about the’ year 1649, produced a 
number of portraits and conversation pieces in the 
style of Van Dyck, whom he imitated with decep- 
tive accuracy. 

CZECHOWICZ, Simon, was born at Cracow i 
1689, and went when quite young to Rome, whe 
he placed himself for improvement under Maratti, 
and resided during thirty years. After his re- 
turn he worked principally in Warsaw, but also 
in Cracow, Wilna, Podhorce, and Polock. He at 
length entered the order of the Capuchins, and 
from that time devoted himself wholly to painting 
for them. He established the first school of paint- 
ing in Poland. His death occurred at Warsaw in 
1775. Some three hundred strictly religious pic- 
tures by him have been estimated to exist, of which 
107 are in Podhorce Castle, and others in he 


” yo 


is the ‘Miracle of the Broken Siilke-pat, at Wilna. 
CZERMAK, Jarostav. See CERMAK. a 
CZERNY, Lubovic, an Austrian painter, aad 
professor of the Academy, died at Vienna in 
January 1889, aged sixty-nine. 


VOL. I. 


Richard Clay § Sons, Limited, London § Bungay. 


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